Designing Music NOW
The traditional division of labor in the scoring process has eroded completely. Composers used to be one player in a fairly large music team. They put notes on paper, attended recording sessions, and bore few other responsibilities. As our industry has evolved our responsibilities have steadily increased. Today’s composer is responsible for every step of the music team’s process, and very often a lone guerrilla composer replaces the entire team of yesteryear. The support network which used to be built-in has evaporated.
We don’t have the luxury of being specialists any more. As scoring budgets shrink, our responsibilities move towards infinity. Today we must have a thorough balance of artistry, craft, and business, wearing all of the hats and managing many disparate tasks single-handedly. We are expected to own and operate our own studios and do a huge number of other tasks not expected of us ten or twenty years ago. We’re not composers, we’re the CEOs of small music businesses and we’re responsible for every aspect of music production.
Penka Kouneva Studios proudly presents TWO MASTER CLASSES Designed for early-career and aspiring media composers, orchestrators, composer assistants, interns, recent graduates, and all interested. The classes will be held in LA and also will be filmed and available...
The question “What is the best way to network?” is one that can baffle even the most successful artists. The music industry has become extremely diverse and the work is spread out extremely widely, so Guerrilla tactics are needed more than ever before. Any industry relating to the arts is whimsical. Styles change, tastes change, the personalities of the creators and consumers change, and the arts themselves change. It can be very difficult to pinpoint a need and position yourself to fill that need. Even if you’re able to do that, it can still be difficult to monetize what you have done. The methods of networking are constantly changing, and the type of networking that pays off is changing just as fast. No matter how long your music career lasts, the difficulty of building and rebuilding your network will persist throughout for all but a lucky few.
Cozmo is a table-top robot released last October by Anki. Recently, DesigningMusicNow got to interview composers Brian Trifon and Brian Lee White of Finishing Move Inc. and award winning composer Gordy Haab about the music behind Cozmo. Gordy Haab is a GANG award winning composer whom has also scored such game titles as Star Wars: Battlefront, Star Wars: The Old Republic, Kinect Star Wars & The Walking Dead: Survival Instinct. Brian Trifon and Brian Lee White of Finishing Move Inc. have worked on many of the award winning games including Halo Wars 1 & 2.
The following interview questions for the Cozmo music team were prepared by Michael Sweet’s advanced interactive video game scoring course at Berklee College of Music. The student composers included Ross Alexander, Dominic Delore, Kaela Fanelli,Timothy Przybylinski, and Ian Silver.
As an introduction to Cozmo, and to help acquaint you with some of the audio aspects of Cozmo, we’ve included the music and sound diary post from the Cozmo development team below:
Introduction – About ROM: Extraction ROM: Extraction is an arcade-like shooter for VR set in a fictional futuristic world that has you taking on the role of an extraction specialist. As a soldier assigned to harvest little orbs harnessing immense amounts of...
Introduction to Modulation Tips – Part 3 This is the third and final article of the three part series titled “Modulation Tips for Composers”. I highly recommend reading part 1 and part 2 before continuing with this article. 3rd Degree of...
INDIECADE HONORS THE YEAR’S MOST INNOVATIVE INDEPENDENT GAMES AT 9th ANNUAL FESTIVAL AT UNIVERSITY OF SOUTHERN CALIFORNIA
Complete List of Winners
Rand Miller (pictured above receiving award), creator of Myst recognized with the 2016 Trailblazer Award for his accomplishments and contributions to gaming.
LOS ANGELES—OCTOBER 17 – IndieCade, the premier international festival of independent games, honored the winners of the 2016 IndieCade Awards at an event last night at the Norris Theater on the campus of the University of Southern California.
The IndieCade Festival has distinguished itself for providing a platform for identifying the best, brightest and most inspired independent games in the world. This year’s festival was held on the campus of The School of Cinematic Arts at USC in downtown Los Angeles.
“The IndieCade Festival is a celebration of the innovation and creativity that distinguishes the world of indie gaming,” said Stephanie Barish, Indiecade’s chief executive officer, “Independent developers are essential for the progress and advances of the larger game industry and we’re proud to provide a home that celebrates and honors their talent, dedication and important works.”
Soundstage Wins Audio Design Award
One of the most interesting Audio VR projects to come around is this year’s Audio Design Award winner, Soundstage. You can learn more about them at their website: Soundstage VR. For a complete list of all winners and links to the games, head over here.
Soundstage VR – The First VR Synth
Disasterpiece’s Score Propels Hyperlight Drifter to the Jury Choice Award
Disasterpiece’s far out score for Hyperlight Drifter helped the game win Jury Choice Award. For a more in depth story behind the music, check out Level with Emily Reese’s interview of Disasterpiece here.
Introduction I have always been fascinated with the neuroscience behind our craft – making music and sounds for games. To really tell a story with music and sound, I believe we need to have a great curiosity about this subject. At Designing Music NOW,...
In the first article of this 3 part series “Modulation Tips for Composers”, we discussed modulating to closely related keys (keys derived from the initial key’s set of diatonic triads). This key relationship is referred to as being on the “first degree of kinship”.
In part 2 we will discuss modulating to keys that are not derived from diatonic triads of the initial key, but are still within 5 “signs of difference”:
“Signs of Difference”
“Signs of difference” means the number of changing accidentals between two key signatures. For example, the keys of C major (no accidentals) and D major (2 sharps) would be said to have 2 signs of difference. The keys of Gb major (6 flats) and A major (3 sharps) would be considered to have 9 signs of difference and would not be a 2nd degree key relationship.
Throughout this article, I will use the abbreviation S.O.D. to refer to “signs of difference”. Let’s further break down what constitutes a 2nd degree key relationship:
Second Degree of Kinship
Any given key has exactly 12 keys that are said the be in second-degree relation. The process of finding these 12 keys is dependent on whether you are modulating from a major key or minor key.
Major Key Modulations
Each major key has 8 major keys plus 4 minor keys in second-degree relation. The major keys can be found following this rule: 4 keys are situated above the given major ascending by half steps in the range of a major 3rd, and 4 more major keys below the given major, descending by half-step in the range of a major 3rd.
Introduction For the price of a video game, you can now have a full orchestra in the palm of your hand. Well, at least on your laptop. This Kontakt instrument is mind blowing, and not only for the great sound and amazing features, but also for the impossibly low...