Kyma Ambiences vol.2 contains 100 abstract and evolving ambiences created with our beloved Kyma sound design workstation.
Due to the increasing demand of spatialized content for game and VR/AR project, this inspiring collection has been entirely designed as a spherical representation of sound natively in 3rd Order Ambisonics by generating all the Sounds in Kyma and mastering them in Pro Tools through a custom analog setup.
Create a truly immersive and dystopian atmosphere with the 2nd volume of the classic Kyma Ambiences sound effects library.
Coming soon from Unidentified Sound Object is "Transmission Apparatus", a construction kit to create a wide palette of communication sounds, from real to “alien” broadcasting signals.
In June 2011, some of the most respected audio authorities – including George Massenburg, Bob Katz, Florian Camerer and Thomas Lund – gathered in Rome, Italy, to share their thoughts and experiences on loudness measurement in connection with recording, mixing, mastering and broadcasting. The speakers at the seminar in Rome included such capacities as Simone Corelli, Alessandro Travaglini, Richard van Everdingen, among the others.
The first day of the seminar focused on post-production, while the second day concentrated on professional broadcasting and particularly the radical changes happening in production and distribution of broadcast, film and music as a consequence of new ITU and EBU standards.
The groundbreaking and comprehensive EBU R128 loudness recommendation was investigated from a multitude of angles, as was the just updated ITU-R BS.1770-2 broadcast standard.
Tc Electronic documented the event and on this page they have gathered some of the footage form the seminar. First up are Florian Camerer and Richard van Everdingen from EBU’s PLOUD Group.
Florian provides a general overview of EBU’s R128 broadcast standard presented with great enthusiasm and a twist of humor. New videos will be available soon!
Air features four ‘Conduct’ modes, which let the user control the composition by tapping different areas on the display, and three ‘Listen’ modes, which provide a choice of arrangement. For those fortunate enough to have access to multiple iPhones and speakers, an option has been provided to spread the composition over several players.
"Air is like Music for Airports made endless, which is how I always wanted it to be." - Brian Eno
“About 20 years ago or more I became interested in processes that could produce music which you hadn’t specifically designed. The earliest example of that is wind chimes. If you make a set of wind chimes, you define the envelope within which the music can happen, but you don’t precisely define the way the music works out over time. It’s a way of making music that’s not completely deterministic.” - Brian Eno
Matteo Milani: Thanks for your time. Peter Chilvers as a musician first: few words about 'A Marble Calm' project.
Peter Chilvers: I happened across the phrase 'A Marble Calm' on holiday a few years ago, thought it sounded like an interesting band name, then started thinking about the type of band that might be. The more I thought about it, the more it seemed to tie up a number of ideas that were interesting to me: drifting textural ambient pieces, improvisation and song. By making it a loose collective, it's enabled me to bring in other vocalists and musicians I've enjoyed working with on other projects - vocalists Sandra O'Neill (who also worked with me on 'Air' for the iPhone) and Tim Bowness, marimba player Jon Hart and flautist Theo Travis.
MM: When did you start working with generative music?
PC: In the 90's I worked as a software developer on the 'Creatures' series of games. When we started on Creatures 2, I was given the opportunity to take over the whole soundtrack. The game wasn't remotely linear - you spent arbitrary amounts of time in different locations around an artificial world, so I wanted to create a soundtrack that acted more as a landscape. I ended developing a set of 'virtual improvisers', constantly generating an ambient soundscape in the background - it was quite involved actually, with its own simple programming language, although little of that was visible to the user.
[...] Peter chose to use his background in improvised music to create an array of "virtual musicians" that would play along to the action on screen. Each composition in Creatures contains a set of "players", each with their own set of instructions for responding to the mood of the norns on screen.
Peter was able to generate much more interesting effects using recorded instruments rather than using General MIDI sounds generated by a soundcard, which can often be quite restrictive. This meant that he could take advantage of the many different ways that a note on a "live" instrument can be played - for example, on a guitar the sound changes greatly depending on the part of the finger used to strike a string, and on a piano when one note is played, all the other strings vibrate too. Also by altering the stereo effects, he could fatten the sound at certain times.
He also made use of feedback loops within the soundtrack. Feedback loops were first experimented with in the 1970s - if any of you can remember Brian Eno, you may be interested to know he composed most of his music then using this method. The idea is that you play a track and record it into RAM (onto a tape back in the 1970s). After about a short while (around 8 seconds in Creatures 2), the loop starts and the original sounds are played back so the composer carries on creating sounds in response to what's gone before.
Behind the scenes, scripts control the music engine and set the volume, panning and interval between notes as the mood and threat changes.
MM: Why did you choose the Apple platform to develop the applications?
PC: I've been a huge fan of Apple products for a long time, and their timing in releasing the iPhone couldn't have been better. Bloom actually existed in some form before the iPhone SDK was announced - possibly before even the iPhone itself was announced. From the second we tried running the prototype, it was obvious that it really suited a touch screen. And Apple provided one!
The difficulty developers have faced with generative music to date has been the platform. Generative music typically requires a computer, and it's just not that enjoyable to sit at a computer and listen to music. The iPhone changed that - it was portable, powerful and designed to play music.
MM: Who designed the visualizations of Bloom? Eno himself?
PC: It was something of a two way process. I came up with the effect of circles expanding and disappearing as part of a technology experiment - Brian saw it and stopped me making it more complex! Much of the iPhone development has worked that way - one of us would suggest something and the other would filter it, and this process repeats until we end up with something neither of us imagined. Trope, our new iPhone application went through a huge number of iterations, both sonically and visually before we were happy with it.
MM: What kind of algorithms define Bloom's musical structure? Are they specifically based on Brian's requests or just an abstraction based on his previous works?
PC: Again, this is something that went back and forth between us a number of times. As you can see, anything you play is repeated back at you after a delay. But the length of that delay varies in subtle, but complex ways, and keeps the music interesting and eccentric. It's actually deliberately 'wrong' - you can't play exactly in time with something you've already played, and a few people have mistaken this for a bug. Actually, it was a bug at one point - but Brian liked the effect, and we ended up emphasising it. "Honour they error as a hidden intention" is something of a recurring theme in Brian's work.
A forthcoming update to Bloom adds two new 'operation modes', one of which was designed specifically to work with the way Brian prefers playing Bloom.
MM: Does the graphic and audio engine include audio and video standard libraries or you wrote your own classes?
PC: I've built up my own sound engine, which I'm constantly refining and use across all the applications. It went through several fairly substantial rewrites before I found something reliable and reusable.
MM: Is all the code in 'Objective C' or did you use any external application?
PC: It's all Objective-C. I hadn't used the language before, although I'd worked extensively in C++ in the past. It's an odd language to get used to, but I really like it now.
MM: Is Bloom sample based? What is music engine actually controlling (e.g. triggering, volume, panning, effects)? What about the algorithmic side of the music engine?
PC: Bloom is entirely sample based. Brian has a huge library of sounds he's created, which I was curating while we were working on the Spore soundtrack and other projects. It's funny, but the ones I picked were just the first I came across that I thought would suit Bloom. We later went through a large number of alternatives, but those remained the best choices.
The version of Bloom that's currently live uses fixed stereo samples, but an update we're releasing soon applies some panning to the sounds depending on the position of each 'bloom' on screen. It's a subtle effect, but it works rather well.
MM: Would you like to describe your actual and next projects?
PC: I've been involved in two new applications for the iPhone: Trope and Air. Both Apps were intended to be released simultaneously. Trope is my second collaboration with Brian Eno, and takes some of the ideas from Bloom in a slightly different, slightly darker direction. Instead of tapping on the screen, you trace shapes and produce constantly evolving abstract soundscapes.
Air is a collaboration with Irish vocalist Sandra O'Neill, and is quite different to Bloom. It's a generative work centred around Sandra's vocal textures and a slowly changing image. It draws heavily on techniques that Brian has evolved over his many years working on ambient music and installations, as well as a number of the generative ideas we've developed more recently.
I have just had some interesting news: Trope has been approved, it's now available in the App Store!
"Trope is a different emotional experience - more introspective, more atmospheric. It shows that generative music, as one of the newest forms of sonema, can draw on a broad palette of moods." Brian Eno
"[...] I had realised three or four years ago that I wasn't going to be able to do generative music properly – in the sense of giving people generative music systems that they could use themselves – without involving computers. And it kind of stymied me: I hate things on computers and I hate the idea that people have to sit there with a mouse to get a piece of music to work. So then when the iPhone came out I thought: oh good, it's a computer that people carry in their pockets and use their fingers on, so suddenly that was interesting again."- Brian Eno [via timeoutsydney.com.au]
Deep Green, a new iPhone OS chess application, is out now on Apple Store. It's developed by Joachim Bondo.
This iPhone App is extremely accurate and detailed, also in sound: it was designed by Diego Stocco, who's described to us part of the process to develop the sound effects. These sounds play a big role in augmenting the "real" experience of playing chess on the multitouch device.
Diego is a composer and sound designer working in films, video games and virtual instruments. He's one of the main sound designers for the multi Award winning Spectrasonics instruments Atmosphere™, Stylus™ RMX and the new Power Synth Omnisphere™. He produces music for Epic Score, a well known L.A. based company specialized in trailer music. Recently Diego completed the score for "The Conduit" a futuristic game for Wii produced by High Voltage Software and published by SEGA.
"The sound design for iPhone is an interesting thing to me, especially with the options offered by the newer version of the OS, it will increase the technical and creative possibilities" - says Diego.
[Diego recording the sounds of individual pieces, move on the chessboard, laid on the desk...]
"The game is really done well and has a lot of sounds associated with any movement. I recorded the sounds of the chess game itself, and various other noises using mainly vintage material. Another interesting thing is that the sound is randomized within the game, every time you move a piece on the board, the sound is different, and the same goes for the engine of Deep Green. The basic idea was to return an analog game experience, combined with a steampunk style."
[A vintage Harp-o-Chord, built in 1899 (the internal label shows the date June 27, 1899)."I found it on eBay, paid $ 10" - says Diego. "I used to create the sound of the checkmate. The thickest string has resonances that reminds of a bell."]
[Diego recording the alarm clock used to create the sound for the Deep Green engine, combined with other mechanical noises]
Rik Ede is the founder and managing director of GAMESOUND Ltd. Rik has been making music for games for over 18 years, 10 of which have been spent creating music in 5.1 (and more recently 7.1) surround sound. Rik is considered to be the world’s leading authority on surround sound in games having spent 5 years working for Dolby as 5.1 evangelist, 2 years as a consultant to DTS and more recently Rik has just finished a 2 year stint as the PLAYSTATION® 3 surround consultant to Sony's R&D group.
With vehicles, the sound you hear is really shaped by the sound tool. The engines are made up of multiple elements, usually 2 main engine loops (low and hi), a load loop (for when they’re going up an incline), a rumble loop, idle loop, track loop, suspension rattles (usually two kinds, hi and lo) gear shifts and turrets etc. These sounds change dynamically based on various game variables, such as the velocity of the vehicle, the RPM value, the gear the vehicle is in, the surface being traveled on etc. Various effects are mapped to each sound based on the values of these variables. So EQs change the engine to get brighter as it gets faster. The rumble, tracks and surface loops all come up in volume as speed increases. When the vehicle start to go up a hill, we’ll pitch all the engine sounds down and then bring up the volume of the load loop (whining engine sound) which makes it sound like the engines are stressing out.
