My Thesis “Die Simulation des akustischen Klaviers in der Musikproduktion” is now published by VDM-Verlag. You can buy a copy at amazon.de. German language only – but here’s the english abstract:
This paper focuses on the possibilities of piano simulation in the current production of music. It begins with a discussion and analysis of the technical development, functionality, and sound production of the mo- dern day, acoustic piano. Next, it examines the method of multi–sampling for piano sound reproduction. Following a definition and historical recapitulation, it analyses the approach of using multi–sampling on the basis of current software products and takes a closer look at a specific example. The second technique analyzed in this work is the sound production approach of physical modeling synthesis. This simulation technique uses a computer generated mathematical model to simulate the laws of physics of a musical inst- rument – in this case the piano. A summary, historical review and an explanation of the technique provides a basic understanding of this process. An example, using a theoretical model, demonstrates the complexity of problems inherent in this process. The only existing software product currently available on the market is analysed in terms of possible applications. The intention of this work is the following comparison of the pros and cons of the aforementioned piano simulation methods. Finally, the appropriateness of the tech- niques will be discussed in the conclusion.
raster-noton
Michael Bierylo, teaching Music Synthesis at Berklee, takes a look at raster-noton. Check out the full article here.
Scenes and styles in general are often associated with specific labels. While there are a number of artists and labels that one might categorize as IDM(Intelligent Dance Music), Warp Records is recognized as the mothership of that particular genre, being the home of artists such as Aphex Twin andSquarepusher. To me, one of the most interesting things happening in electronic music right now is minimal noise techno, and if there’s an aesthetic motherlode for this music, it’s Raster Noton. The label was founded by three like-minded German artists, and came about through a merger of Olaf Bender and Frank Bretschneider’s Rastermusik and Carsten Nicolai’s Noton labels in 1999. The three are active performers, Bender as Byetone and Nicolai as Alva Noto. All three come from a background in visual arts, and visual presentation is a strong component of Raster Noton releases, as well as their artists’ performances.
Acoustic Botany
Acoustic Botany, by David Benqué, extracts Synthetic Biology and Genetic Engineering from the usual context of health care, food and environment and examines instead the role they could play in the sphere of culture and entertainment.
Peter Caranicas posted a great articel on two different sound editing approaches:
On that day each was nominated for two Oscars: sound editing and sound mixing. Boyes drew the mentions for “Avatar,” Ottosson for “The Hurt Locker.” Plus, each has the same triple credit: sound designer, sound re-recording mixer and supervising sound editor.
Yet the work of these two seasoned film sound professionals on this season’s contenders couldn’t be more different.
Jim Pavloff recreates two lassic tracks by prodigy in ableton live – inspiring. Keep in mind that Liam Howlett wasn’t able to use Ableton live back in the days…
Sound for 3D Films
Everybody talks about 3D movies – but what about the sound for this films?
Music of sound has a great review about this topic.
Along with the hyperbolic (& in my opinion somewhat dubious) promotion of 3D films as “game changing” an aspect that seems to be late to the conversation is the use of sound in such films. In some ways I guess this is partly due to the fact that with the implementation of surround sound many decades ago, bringing sound “off the screen” has been a part of the vocabulary of every film mixer since the 1970s; the concept of 3D sound is not new in that respect.
But the re-launch of 3D films in the form of huge budget blockbusters such as Avatar raises the issue again, since for such a film to cost many hundreds of millions of dollars to make means there must also be vast funds available to develop & present an appropriately “game changing” soundtrack. Accordingly there can be no doubt that a need has been created, but is it being fulfilled?
For those of you who have seen Avatar, did you think the soundtrack presented any new innovations in terms of physical depth and/or use of surround sound? But of course, accompanying that question is the philosophical issue of whether it actually should do and if so, how?
Hans Zimmer and Diego Stocco talk about the Experibass on Sherlock Holmes’ score
Diego Stocco, a great sound designer & solist, worked with Hans Zimmer on Guy Ritchie’s new movie “Sherlock Holmes”. In this video they are talking about his unique instrument – the experibass:
From Diegos Youtube Chanel:
I had the fantastic opportunity to play my Experibass on Hans Zimmer’s score for “Sherlock Holmes”, the new Guy Ritchie’s film. I’m one of the featured soloists.
Hans really loved the pounding tonal grooves and aggressive depth of the basses I was playing on the Experibass and asked me to go full scale with all those techniques I was showing in the original video. I didn’t stop there though, I also experimented with new techniques that were coming up to my mind while playing on his tracks.
A big thanks goes to my friends Daniel Holter and Russell Emanuel for passing my video and make the connection happens.
Working with Hans Zimmer and his team has been great and I’d like to thank them for this amazing experience. I’ve been a fan of his music for a long time and I felt honored when he called me to play on the score of Sherlock Holmes.
Music Documentaries at BBC Four
BBC Four spoiled its audience recently with a collection of brilliant music documentaries that underline the impact technology, namely the synthesizer, had on popular and academic music in Britain.
