Interactive CD Cover
Hubero Kororo designed this interactive CD cover for the band Uceroz. When you open the CD packaging on the side, ink is set free and bleeds into the cover of the CD. I really like this idea.
found at yatzer
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The music industry has been hammered by piracy in the past decade and is looking to develop new offerings to entice consumers to buy their music from legitimate sites, instead of taking it from illegal outlets.
The new proposal, which is called MusicDNA and has the backing of the original MP3 digital music file inventor, would allow fans to download an MP3 file on to their computer, which would carry with it additional content.
Music labels, bands or retailers could then also send updates to the music file every time they have something new to announce, such as the dates of future tours, new interviews or updates to social network pages.
The user would receive as little or as much information as they want, every time they are online. Anyone who downloads the music file illegally would receive only a static file which would not receive any updates.
BACH Technology, the group behind the MusicDNA file, says it’s looking to partner with retailers, music labels, rights holders and technology companies and is happy to provide its technology for others who could use it under their own brand.
BACH is based in Norway, Germany and China and has Germany’s Fraunhofer Institute for Digital Media Technology as a partner. “We are getting very good feedback and the fact we are looking to include everyone in this, and not competing against them, helps,” says chief executive Stefan Kohlmeyer.
[via www.pcpro.co.uk]
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The era of 3D and super-visual films has come. So, what about sound? What could be the next step on film sound? Tim Prebble has made a great review about this topic, regarding some aspects abut the technology and the techniques that could be implemented to reach a new level on the sound for this new era of filmmaking. Let’s read:
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?
Continue Reading on www.musicofsound.co.nz
[via: designingsound.org]
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find more videos on www.17586063.com
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On the end of an era “I think records were just a little bubble through time and those who made a living from them for a while were lucky. There is no reason why anyone should have made so much money from selling records except that everything was right for this period of time. I always knew it would run out sooner or …later. It couldn’t last, and now it’s running out. I don’t particularly care that it is and like the way things are going. The record age was just a blip. It was a bit like if you had a source of whale blubber in the 1840s and it could be used as fuel. Before gas came along, if you traded in whale blubber, you were the richest man on Earth. Then gas came along and you’d be stuck with your whale blubber. Sorry mate – history’s moving along. Recorded music equals whale blubber. Eventually, something else will replace it.”
Read the full story:
http://www.guardian.co.uk/music/2010/jan/17/brian-eno-interview-paul-morley
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Trained as a musician and composer, French artist Céleste Boursier-Mougenot creates works by drawing on the rhythms of daily life to produce sound in unexpected ways. His installation for The Curve will take the form of a walk-though aviary for a flock of zebra finches, furnished with electric guitars and other instruments and objects. As the birds go about their routine activities, perching on or feeding from the various pieces of equipment, they create a captivating, live soundscape.
Céleste Boursier-Mougenot
New commission for The Curve
27 February 2010 – 23 May 2010
The Curve
Tickets: Free admission
Times: Open daily 11am-8pm
Open late every Thu until 10pm
subject to availability
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The Sound Design of “Avatar”
Avatar is one of the most impressive films I’ve seen. Amazing use of technology and a great story. Fantastic combination. The 3D experience there is totally amazing. The sound is really great… A good challenge with animals, sci-fi stuff and of course: create a new world.
The January’s Issue of Mix Magazine contain a fantastic article featuring Chris Boyes talking about the sound of “Avatar”. Let’s read:
If you’ve seen James Cameron’s epic 3-D fi lm, Avatar, or even just the trailers and commercials, you know that the director has gone to incredible lengths to create a visually and aurally sumptuous adventure set in a fantasy world unlike any that we have ever seen before. There are bizarre creatures, fi erce and friendly, that walk the planet Pandora or soar its skies.
There are futuristic machines and aircraft straight out of Cameron’s vivid imagination. And then there is the Na’vi, a peaceful race of tall, blue-skinned, long-tailed, humanoid tree dwellers who have their own customs and language and are now being threatened by an incursion to Pandora by people from Earth bent on exploiting the planet’s valuable natural resources. It’s a rich and very complex story I won’t recount here, but suffi ce it to say, it involved incredible feats of technical wizardry to bring it realistically to the screen, including improved motion-capture technology, next-gen visual FX supplied by the best digital artists, and newly designed 3-D cameras that allowed Cameron to see approximations of the story’s virtual world in the camera as the fi lm was shot. No wonder it took three years to make.
Not surprisingly, Avatar also required tremendous imagination and dedication from Cameron’s sound crew, which was spearheaded by supervising sound editor/sound designer/re-recording mixer Christopher Boyes (pictured on this month’s cover), who earned his first sound Oscar for Cameron’s Titanic in 1998, and subsequent trophies for Pearl Harbor (2001), The Lord of the Rings: The Return of the King (2003) and King Kong (2005). He’s also had fi ve other nominations, the latest last year for Iron Man. In fact, when I caught up with Boyes in early December, he’d just started work on the sequel to Iron Man down at Fox in L.A.—this after a mere one-day break following the nearly 80-day fifi nal mix on Avatar (also at Fox).
Avatar was not your typical film where the “post” crew gets heavily involved once principal photography has been completed. Rather, Cameron brought in Boyes, who in turn called on sound editor Addison Teague to start working on sound design from the beginning of the shoot. “When Jim and I sat down in the summer of ’06,” Boyes recounts,” he said, ‘This is what I want to do: I’m going to shoot, then I’m going to go in and edit, and while I edit I want to be cutting sound eff ects that you’ve made, and then I’m going to go back to shooting’; and back and forth like that. And true to form, that’s exactly what he did. What we didn’t expect him to do was keep shooting as long as he did, but then all these big fi lms tend to do that so it wasn’t exactly surprising.”
Teague, who shares a supervising sound editor credit on the film with Boyes and dialog specialist Gwen Whittle, says, “Jim wanted to have a sound editor working in the picture department during editing, and I had done that before for Chris on the fi rst Pirates of the Caribbean fi lm. Avatar was going to be a multi-year commitment and involve relocating from Skywlker Sound to L.A. to work alongside Jim. It was quite a commitment for a sound editor, but seemed like an amazing challenge and experience so I jumped at it.
Continue reading on designingsound.org
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Misa Digital Guitar
misa digital guitar running linux kernel 2.6.31. very fun and mesmerizing to play. sydney, australia.
The Misa digital guitar is a MIDI controller. It must be plugged into a MIDI sound module. The sound of this instrument is limited only by what you connect to it.
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