Tuesday, December 14, 2010

One Dollar Trilogy: A stranger in these parts

And this is the third piece from the "One Dollar Trilogy".


This is again built with the same instrument set as the two other tracks. I saw no need to change the sound too much since all the parts of this trilogy are short (hence the cheap sounding name).

I imagined this as a sort of farewell for the nameless (these dudes never have names, their parents must have hated them) hero as he limps into the sunset boding ill omens for the next town he stumbles into.

Although this trilogy was a rush job it was great fun to write these and I think I will return to these on a later date to create more pages for this story.

Gear I used for this track:

DAWs and editors:
  • Cakewalk Sonar 8.5
Samplers, instruments and effects:
  • NI Kontakt 3
  • Independence Free
  • Kjaerhus Classic Master Limiter
  • Melda Equalizer
  • Sonar PerfectSpace
Libraries and impulses:
  • Project SAM Brass
  • VSL Horizon series Chamber Strings
  • VSL Horizon series Overdrive
  • VSL Horizon series Concert Guitar
  • NI Kontakt 3 Library
  • Sonivox Flying Hand Percussion
  • Ilio Origins
  • Independence Free Library
  • Gnomehammer Sleigh Bells
  • Sonivox Flying Hand Percussion impulses

One Dollar Trilogy: Bullets, bloody bullets

So, today I finished the two other parts of my "One Dollar Trilogy". The second track is titled:


I built this one around the same palette as the first one. It's actually in the same frigging project file. This one needed to be a battle music, but I didn't want to go the normal way and raise the tempo to make it more faster paced. I kept the tempo same but used the snares to bring a military march type feel to the track. I also gave more room for the trumpet to play to give that Texas/Mexico feel so essential to Westerns.

This is clearly a tighter sounding song and it's a track I might want to extend once I have more time to do it. But for now (and for the theme of this trilogy) it is as it is.

Gear I used for this track:

DAWs and editors:
  • Cakewalk Sonar 8.5
Samplers, instruments and effects:
  • NI Kontakt 3
  • Independence Free
  • Kjaerhus Classic Master Limiter
  • Melda Equalizer
  • Sonar PerfectSpace
Libraries and impulses:
  • Project SAM Brass
  • VSL Horizon series Chamber Strings
  • VSL Horizon series Overdrive
  • VSL Horizon series Concert Guitar
  • NI Kontakt 3 Library
  • Sonivox Flying Hand Percussion
  • Ilio Origins
  • Independence Free Library
  • Gnomehammer Sleigh Bells
  • Sonivox Flying Hand Percussion impulses

Monday, December 13, 2010

One Dollar Trilogy: Red Creek

I received a project at work which required me to write three short western themed music bits for an awards gala. It was a rush job since I only had a few days to do everything. And to top that I didn't get the video clips the music was meant for since it was in edit at the same time. Here's the first of these tracks. I titled it:


Since time was sparse I didn't even begin to create something inspired and new but started with a basic western palette of sounds: lonely primitive drums, the Mexican trumpet, the acoustic guitar. Around these I wrote a simple progression to create a foreboding mood; a waiting but driven atmosphere. The track grows as it goes along. I used a lot of other familiar elements on this one as well. The always ominous church bell is present as is the massive french horn section and the gritty distorted electric guitar.

This is not a very difficult track as it is simple in structure and melody. But I like it all the same.

Gear I used for this track:

DAWs and editors:
  • Cakewalk Sonar 8.5
Samplers, instruments and effects:
  • NI Kontakt 3
  • Independence Free
  • Kjaerhus Classic Master Limiter
  • Melda Equalizer
  • Sonar PerfectSpace
Libraries and impulses:
  • Project SAM Brass
  • VSL Horizon series Chamber Strings
  • VSL Horizon series Overdrive
  • VSL Horizon series Concert Guitar
  • NI Kontakt 3 Library
  • Sonivox Flying Hand Percussion
  • Ilio Origins
  • Independence Free Library
  • Gnomehammer Sleigh Bells
  • Sonivox Flying Hand Percussion impulses

Saturday, December 4, 2010

Way of the Fist

I've been a fan of Hong Kong action movies for I don't even remember how long. This track is a tribute to them. The name of the track comes from Jeet Kune Do (Way of the Intercepting Fist):


I originally started this track as a way of learning to do Asian drums (taikos and Chinese style). It kind of evolved from there. The backing of the track is firmly rooted on the beating of the taiko drum, which are accompanied by Indian dohl drums (for the taiko drums I used Nine Volt Audio's Stickbreakers Vol2 and for the dohls Tonehammer's Epic Dohl). To these I combined Chinese Bangu drums from the MOTU's Ethno Instrument and a modern drum kit (well, the NI Abbey Road 60's drums, but that's close enough).

After I had the drums down I thought it would be cool to combine instruments from different continents into one. So I began to go through my arsenal and see what kind of a crazy instrument mix I could get. There are plucked strings from Japan (koto and shamisen), Finland (kantele) and North America (a telecaster guitar). Strings range from western orchestra strings to a gypsy violin layered with a Chinese Erhu. Woodwinds from North America (Native American flute from Orange Tree Samples' MesaWinds) and Japan lead the solo section of the ensemble. Then everything is layered with synths and massive orchestral brass.

This is one of those tracks that I didn't build around a story, bu rather just let it unfold itself as I went along. Rarely has it been so easy to write a song not centered around pivotal story points. What drives this one is the general mood of things happening and the hero simply kicking ass. So enjoy this one.

Gear I used for this track:

DAWs and editors:
  • Cakewalk Sonar 7
  • Sony SoundForge 7
Samplers, instruments and effects:
  • NI Kontakt4 
  • East West PLAY 2
  • UVI Workstation
  • NI FM8
  • NI Massive
  • Sonar PerfectSpace
  • Timeworks Equalizer
  • Waves L3 Multimaximizer
Libraries and impulses:
  • Nine Volt Audio Stickbreakers Vol.2: Ten Man Taiko
  • Orange Tree Samples MesaWinds
  • Tonehammer Epic Dohls
  • NI Abbey Road 60's Drums
  • NI Kontakt4 Library
  • Project SAM True Strike 2
  • Project SAM Brass 
  • VSL Horizon series Epic Horns
  • VSL Horizon series FX Percussion
  • Bela D Media Sampled Landscape
  • Ilio Origins
  • MOTU Ethno Instrument 
  • EastWest Quantum Leap Gypsy
  • EastWest Quantum Leap Ministry of Rock
  • EastWest Quantum Leap Voices of Passion
  • Sonivox Flying Hand Percussion impulses

Sunday, October 24, 2010

Avatar Pony Quadrille


Ok, as I said in the previous entry that the theme for the horse show we wrote music for was the film "Avatar". So there isn't much I can say about the sound of this score, since it was really defined by James Horner before us.

An interesting thing happened while working on this though. I had already passed the music on for the final rehearsal when it was noticed that the practise arena and the show arena aren't the same size. The practise arena was smaller so the ponies took a shorter time to ride through the program than they did in the show arena. So I hauled ass back to my gear and extended the drums and the ending for over 2 minutes. So the end result is 11 minutes and 34 second long.

In the end I believe we created an enjoyable score for the show. Take a listen yourself.


The show was performed on 24.10.2010 at the Helsinki International Horse Show.

Gear I used for this track:

DAWs and editors:
  • Cakewalk Sonar 7
  • Sony SoundForge 7
Samplers, instruments and effects:
  • NI Kontakt4
  • UVI Workstation
  • Sonar PerfectSpace
  • Timeworks Equalizer
  • Waves L3 Multimaximizer
Libraries and impulses:
  • Cinesamples Drums of War
  • Tonehammer Epic Dohls
  • Tonehammer Forgotten Voices: Francesca
  • Project SAM True Strike 2
  • Project SAM Brass
  • Sonivox Flying Hand Percussion
  • Bela D Media Sampled Landscape
  • Ilio World Winds
  • MOTU Ethno Instrument
  • Kirk Hunter Symphony Orchestra Diamond
  • Cinematic Strings Monster Staccatos
  • NI Kontakt 4 Library
  • Tonehammer Epic Hall Convolutions

    Saturday, October 2, 2010

    Breaking new ground

    For the last few weeks I and Teemu have been working on something really new to us. Well, the material we've been writing isn't actually new but the reason for it is. We've been commissioned to write performance music for a live performance pony quadrille. This is something neither of us has done before. Actually neither of us has been that close to anything resembling a horse (ok, ok, they're ponies) before and we know basically nothing of such shows. It's not the first (nor will it probably be our last) leap into unknown territories and we're really getting a crash course in horse shows. At least no one can say we wouldn't live up to our motto: "If you need music we'll create it."

    The music will be in the vein of Avatar, since that is the theme of the show.

    Friday, September 24, 2010

    Sarcofagus @ Dante's Highlights, Helsinki

    I hadn't planned on writing about gigs into this diary, but last night I heard something so inspiring that I had to share it. I went to listen to Sarcofagus on their gig. I got a little more than I expected. Most of the set was made of their most known songs and they rocked through them well. The big surprise came at the end.

    The show ended with a few guest appearances. The final two guests were a guy playing an electric kantele and a singer doing throat singing. Imagine the sound you get when you stack up a rough heavy metal background, the kantele playing distorted folk melodies, the throat singing bringing an air of ancient things to the mix. And to top it all off the keyboard player starts jamming with a 60's or 70's analog Moog synth over everything else! Talk about originality.

    Thursday, July 22, 2010

    The Terror: Ice bound - finished

    Just finished mixing the intro track. I felt it did not need any of the compositional changes I was pondering. So without further ado, here it is:


    Gear I used for this track:

    DAWs and editors:
    • Cakewalk Sonar 7
    • Sony SoundForge 7
    Samplers, instruments and effects:
    • NI Kontakt4
    • Sonar PerfectSpace
    • Timeworks Equalizer
    • Waves L3 Multimaximizer
    Libraries and impulses:
    • VSL Horizon Series Chamber Strings
    • VSL Horizon Series FX Percussion
    • Soniccouture Bowed Gamelan
    • Cinesamples Drums of War
    • Cinematique Instruments Bowed Psaltery
    • Sample Logic Vuvuzela
    • Sonivox Flying Hand Percussion
    • Kirk Hunter Symphony Orchestra Diamond
    • Cinematic Strings Monster Staccatos
    • Project SAM Brass
    • NI Kontakt 4 Library
    • Sonivox Flying Hand Percussion impulses 
    Yeah, I used Sample Logic's Vuvuzela library. Can you spot this much hated instrument there?

    Tuesday, July 20, 2010

    The Terror: The beast attacks

    I started work on the main action cue of this project. This is where we get the Tuunbaq, the beast that hunts the stranded men, inside the ship. This is when they are hunted in their temporary home. This is where many of them die. It will be a brutal track without respite, without mercy. There are lot of drums and less melodies. It's more about panic and haste than coordinated action. This is where they scramble to survive.

    Monday, July 19, 2010

    The Terror: Ice bound

    Just finished the first draft of the intro track of "The Terror". It sounds very cool even before mixing. There are still some things I have to think about though. Mainly the ending and the length of the middle section. Both are good, but I'm thinking that the middle could be a little longer still. So going to do some intensive listening for the next few hours. Of and the name of the first track is:

    Ice Bound

    Thursday, July 15, 2010

    The Terror: First notes and bars

    I began work on "The Terror" album right away. Since it's one of my favorite stories I really didn't need to search far for inspiration. The intro track is about halfway done and it conveys very well the main elements of the story: isolation and freezing cold. Both of them ooze out of the novel. You'll never look at snow the same way after reading the novel. I'm hoping to convey that into the music as well. If the intro track had images to go with it they would contain a Luc Besson style moving camera that floats over the ice and snow towards two stranded ships.

    Wednesday, July 14, 2010

    New spec project

    Chipping in with a simple cover picture post of a new project I'm starting (yeah, I know, maybe I should finish some of these spec projects for a change). I'll be doing some tracks inspired by a fantastic book by Dan Simmons called:



    Sunday, June 27, 2010

    Sippo and the funk - rehash

    Yesterday I started to work on rearranging, reinstrumenting and generally pimping up the track "Sippo and the funk". Going add many new layers and changing the instruments to make the sound more cinematic and retro. Also going to make it really into a theme song from the current background loop style. Hopefully will get it done soon.

    Saturday, May 22, 2010

    Before a blank DAW view: Spec tracks Part One - Inspiration

    I thought I'd write a bit about what happens before I start a new project for a change. So this is going to be a rant about inspiration, ideas and how to get them. So with out further ado I'll just jump in and start.

    Inspiration sources for spec tracks

    Stories
    Obviously for me stories are a main source of inspiration. I rarely make music without a story to inspire it. So where do I find these stories?

    1. History
    History is one my favorite sources of inspiration. It is filled with unbelievable stories. The only thing one really has to do with history is choose. And this is where the inspiration part comes in. I try to avoid making the obivous choice of a big heroic story and try to dig in deeper to find those events and stories that happened outside the limelight of victorious glory. Did I mention that for me inspiration is as much detective work as it is something mystical that can't be described?

    2. Myths
    After history myths are my biggest source of inspiration. I find it interesting to see how the mythologies of different cultures vary from each other but are still some much alike. You can find new perspectives to familiar stories by looking into a different mythology.

    3. Books in general
    This is one of those duh-things. Books are stories. A good book can inspire you to many things. Simple as that. Books you can easily tackle, since there's a whole a lot more in them to work with. Often some obscure side line can be the most interesting part. For example a single line "the final flight of the Luftwaffe"from a book spawned an eight minute action packed track.

    4. Newspapers
    Newspapers are full of interesting stuff. Usually there's a lot of stuff that can tickle the imagination and bring new ideas to your head. Most of the time you just have to dig deeper into the subject. And who knows, you might end up finding a different story that way.

    5. People
    Listening to old people is often really inspiring. They can have a lot of increbidle stories to tell and they can give you the human side of them. You don't find these stories in the history books, but they are more tangible than all the above.

    Other sources
    Not all of my tracks have stories behind them. Ok, this happens rarely, but it does happen (sometimes). Then I need to dig my ideas from somewhere else.

    1. New instruments
    I tend to collect instrument libraries and almost always when I get something new on my hard drive I get inspired by it. Ok, at first I'm baffled by how to use them, but then I get inspired. The new sounds just bring new worlds to mind and open new doors for you to explore. Usually getting new instruments gets me out of my normal tracks and shift me into different styles of music. Which is always a good thing.

    2. Old instruments
    I really have to mention this as well, since I get this often. As I'm always buying new libraries I tend to forget somethings that my old libraries have and then "discover" them. And get inspired.

    3. Art
    I find a lot of ideas from different kinds of art work. Sometimes a beautiful photograph, an unfinished painting or a sketch is all that is needed to get my mind running. The only problem I find with art as an inspiration source is that you might have go through a really large amount of stuff to find the pieces that inspire you. But like I said before, the detective work is one of the best parts of working with new ideas.

    4. Travelling
    Getting stuck in your normal circles is a pretty bad thing when your trying to be creative. Travelling is probably the best way to break your routines. Plus going to someplace that is really cool can give you extra vibes and ideas.

    5. Nature
    It's no surprise that nature has inspired so much art in the course of time. It is just full of marvelous sights from small to large. You just have stop and see them.

    6. Design
    This one crosses paths with art (and sometimes with nature) as well designed objects, places, whatnot, are pieces of art. But I feel this still needs it's own little tab here. Let's take an example: a Ferrari sports car. No one will says it's not a piece of art but there can be so much more to it. I have seen a group of Italian Carabinieri (the police for those not familiar with Italy) just stare at a starting Ferrari and watch it speed away well over the speed limit right before them and not one of them gave chase. They just took in the beauty and power or the car and then went on with their business. So design can give you quite alot of stuff to work with.

    These are some of the things I've found inspiration for and this is by no means a complete list. I will write more about my working with spec tracks in time, but there's still one thing that this post needs. A little piece of advice.

    Keep an idea book. Write down things you hear, see, read, experience. Don't let them escape.

    Monday, May 17, 2010

    The story behind "Suosikkijuontaja"

    I had an interesting project at YleX radio station. It involved the station morning show team and their mystery trash journalist Trash King.

    The whole thing started when the morning show got a make over; they received a completely new soundscape with new jingles and background tracks. Well their main background track (which is a driving rock electronic mix) was used for the shows TV commercial and the music gained some questions about what song was used there. This happened also when the new soundscape went on air. So I suggested that we actually make a song out of it.

    The idea was thrown around a bit before it was agreed that the song had to be made. I started out by doing some rearranging on the material. The original background track consisted of an easily loopable elements which I divided into verses and a chorus. This way I built the basis for the track.

    But lets have a look at the music of the song before going deeper into the actual making of the song. The strongest element of the song is the beat, which is forward driving and massive in sound. It is layered from four different drum layers (read kits) ranging from a punchy rock kit to an electronic drum'n'bass kit. There are no breaks from the beat during the song. When I had started to make the original background track a few of the descriptions I got were ballsy, in-your-face, large. The beat is all of these.

    On top of the beat there's a slap bass. I originally selected the cheapest sounding synthetic slap bass I could find to give it the feel of, well, adult movies. It worked well with the background track and I saw no reason to change it. What I did with the song is that I added a distorted electric guitar on top of the bass to give it more power and even more rhythm.

    The acoustic piano playing long, sharp notes and chords from the original track stayed the same as did the electronic beeping sound I used to create a lead melody with. For the song I gave them a backing with ambientesque pads to have a more airy feel in the music. I also wrote an ever growing brass section for the song. From the first chorus to the last the sound of the song grows larger and larger.

    When I had rearranged the song I had a few meetings with the morning show team so that they could have their say on the lyrics.It was decided that the track should revolve around Trash King and his Trash Kingdom (I won't reveal who he is, for his vengeance would be far too gruesome). With this decision it became clear that the lyrics would revolve around trash journalism.

    The lyrics evolved to form the imaginary weekend of a star persona "Suosikkijuontaja" (that's Finnish for star host). The lead vocalist would be Trash King who belts out one outragious scoop after another and the morning show team responds to the scoops with your somewhat standart celebrity answers that end getting them deeper and deeper into dire straits. That's the basic idea of the lyrics.

    Then the date was set when we'd record the lyrics. The day started with some choir singing as I had the guys and their producer chant out the chorus. I have to admit, it sounded just as horrible as I had imagined and then Tom led out a few choruses with some freakishly high notes in there. It was really disturbing. But I knew I had recorded the perfect chorus for the song. Luckily Trash King wasn't in the house yet so Tom was spared being ridiculed for his "masculine" performance.

    After the choir session I remained in the studio with Tom, who had a tighter schedule than the rest of the guys. I got a few really good reactions from him, but the coup de grace of the day was joining of a vision I had had and an instrument Tom owns. The vision I had was a fusion jazzish instrument solo over just the beat, bass and guitar. And the instrument: a bagpipe. That's right: a jazz bagpipe over a slapbass and distorted guitar. I don't really know which of us is the sicker man, me for dreaming it or Tom for going along with it. Well, it's still probably me since I had Tom play various length licks from which I edited the final solo performance. It's probably one of the most absurd and disturbed musical things I've done. Seriously. No really. Listen to the track and you'll know what I mean. Moving on.

    The rest of the recording session went as planned. I got really good stuff out of Juuso and Matti, whose performance dropped me to the floor a few times. Then came the dreaded moment of recording Trash King. I have never heard such things in my life. It still gives me the shivers. He truly is the king of trash.

    The recording and vocal editing day ended up being 11 hours long. It was a long session, but I'm glad I did it since the next day I could just start finishing the song. First I put all the vocals in place then divided them into three sections divided by choruses. Between the last two sets of choruses I placed the bagpipe solo. The final thing I did was to create and intro and outro for the track containing rantings from Trash King. Then the mixing and the song would be ready for listening.

    I was really nervous about what the morning team would say when they heard the final result. I was relieved when the guys started laughing out loud. Then I knew they liked it. And with that the song was finished.

    Trash King fist. YleX AAMU - Suosikkijuontaja

    Gear I used for this track:

    DAWs and editors:
    • Cakewalk Sonar 8.5
    • Steinberg Nuendo 4
    Samplers, instruments and effects:
    • NI Kontakt 3
    • NI Battery 3
    • NI Guitar Rig 3
    • NI FM8
    • Cakewalk Dimension Pro
    • Kjaerhus Master Limiter
    • Melda Equalizer
    • PerfectSpace
    Libraries:
    • Vienna Horizon Series Overdrive
    • Project SAM Brass
    • NI Battery 3 Library

    Thursday, April 29, 2010

    New and improved website

    I'll give you guys a heads up with a quick news flash. We've gone over our website and given it a make over and it now looks snazzier than ever. There's a chunk load of music to hear now as we've placed some our favourites from past years at your listening pleasure.

    Tuesday, April 27, 2010

    Sippo and the Funk

    This one is about the theme song for the online person of YleX radio station, Sippo.


    What was wanted from the music that it would give you the feel of a lot of hassle and stuff going on. Also a bit of that undercover cop feeling wouldn't hurt. So my mind pops up with the feel of the 70's, of funk music and Starsky & Hutch.

    I pondered on the elements for a while before one day I was going to lunch and a clavinet melody started playing in my head. It was just the thing I needed to get things rolling. So there I was trying to eat lunch as fast I could, humming the melody in my head all the while. Then a rush back to the studio and some quick writing to get it down. It ended up forming the backbone of the song.

    Next up was the beat and bass. I didn't want the beat to be too grrovy, but rather be a forward moving force that drives the track onwards. I stacked three different sounding drum kits on top of each other to get a good layering into the drums. I selected some of the most dry and dirty kits I had at my disposal at the time. For the bass line I selected to do a slightly slapped bass to get some of that funky feeling. But not too much since I wanted the bass to be low.

    From the actual lead theme I wrote an ascending and descending brass theme for saxes, trumpets and trombones. It's a simple enough melody, which starts out from the same note each time go either up or down. I wanted the brass to sound dirty and used quite a bit of gracing elements on the trumpets. There are stabs and falls all through the melody.

    The sound is rounded out by a rhythmic organ and wah guitar.

    I'm still pondering whether to do a more song like version of this with added string elements. Now the structure of the this song is more of a loop than an actual theme song.

    Gear I used for this track:

    DAWs and editors:
    • Cakewalk Sonar 8.5
    Samplers, instruments and effects:
    • NI Kontakt 3
    • NI KorePlayer
    • NI Battery 3
    • NI Guitar Rig 3
    • Kjaerhus Master Limiter
    • Melda Equalizer
    • PerfectSpace
    • Audio Damage Roughrider
    • Bootsy Ferric TDS
    • Smartelectronix SupaPhaser
    Libraries:
    • Vienna Horizon Series Overdrive
    • Sonivox Flying Hand Percussion
    • Project SAM Brass
    • NI Battery 3 Library
    • NI Kontant 3 Library

    Saturday, April 24, 2010

    The Giant Steps

    Yesterday I wrote about composing by colors. Well there's another aspect of that same project that I'm working on, the sound design. There's going to be a TV commercial about the event and it needs some new sound elements the first of which was needed before the actual commercial is even ready. Since the project spans different medias (TV, radio and the internet) it requires a quite large array of different sound pieces.

    One of them being an audio signature identifying the artists performing in the event. All the elements sound have the same feel to them so I started building a few blocks to form the basis for that sound world.

    One of those blocks I started with is the foot steps of a giant walking in a city. I started by selecting the lowest and most massive bass drum sound I could find to form the thud caused by really heavy feet.

    For the second layer of the sound I wanted a realistic sound of something heavy hitting the ground. At first I was thinking of concrete blocks, but then turned to falling trees, which had a more organic sound. I doubled that layer and shifted the pitch down an octave to get it to sound heavier and a little unnatural.

    The third layer of the sound consisted of pitch shifted snapping branches and breaking wood. They give a nice organic breaking sound. Another layer had large falling rocks to designate the small pieces of pavement that might burst around the foot step.

    As final touch I added a layer of shifting sand to make it sound like the pavement actually moves to the side when the foot presses down on it. After this I made several different version of the sound with varying volume levels for each layer to make them sound a little different and to make them work at different distances from the actual foot step in the commercial. Some of them are just low thuds and some of them have all the elements blaring at you at very close range.

    This sound became the start of the audio signature. The rest of the audio signature consists of the green and orange musical sound scape I talked about in my previous Production Diary entry.

    Friday, April 23, 2010

    Composing by colors

    This is one of the weirdest composing tasks I've had so far. I'm responsible for how an outdoor event sounds like and the only thing I have to go with are palm trees swaying in the wind and the colors green and orange. So now I'm pondering how does green sound? And what about orange?

    Friday, April 2, 2010

    The helping hand of technology

    I've been battling with a crowded monitor display for quite a while now and finally the camel snapped. I went out and purchased a new monitor. A larger one. My previous display had a resolution of 1280x1024, which isn't bad if you're used to just surfing the net and writing the text or two. But for anything as large scale as my compositions tend to be it started to get rather small. So yesterday I bought a BenQ G2222HDL wide screen display with a resolution of 1920x1080 and boy is my screen now a lot less messy.

    Tuesday, March 23, 2010

    After the fall: Prypiat suite

    "After the fall" is a video game inspired apocalyptic story. The first part (which is actually the third track, writing these isn't going to happen in sequence) of it is:

    Prypiat suite

    Prypiat is an abandoned city originally built close to the Chernobyl nuclear power plant and inhabited by the plant's workers and their families. It was transformed into a ghost town after the, umm, minor malfunction at the plant in 1986. It has already been featured in a few games, but since this is simply a concept production I feel that it's a good place to use.

    As the name suggest this is a suite of cues, in other words this is a collection ideas what might happen in the Prypiat chapter of the fictional game. The different cues that make up this suite are:
    1. 00:00 - Out of quarantine
    2. 01:03 - Abandoned
    3. 01:55 - Where am I?
    4. 04:09 - Death
    5. 05:44 - Strange footprints
    6. 06:21 - Run!
    7. 07:48 - Leaving Prypiat
    I was originally inspired to write this kind of music after playing Resident Evil 4 and being a long time fan of post-apocalyptic scifi I felt like writing music for a fictional game in the vain of RE4 set in the future after the world of man has fallen. So it's the vein of survival horror. In this chapter the main character is mainly unarmed and running and hiding and just plain surviving.

    In this chapter the main character also has his first contact with the horrifying creatures preying in this cold world. He doesn't yet stand a change in fighting them so he has to keep quick on his feet if he wants to make it out alive. The chapter ends with him leaving Prypiat.

    I started out to write music that is less thematic and more dramatic and ambient. I started with several NI Absynths at the core of the sound for this. From them I got the spacey desolate whining pads the play through out most of the track. They are the lungs of this song as they breath in and out of the listener consciousness. They provide the track with a welcome feeling of alienation and unfamiliarity, which is a must for such subjects.

    If the pads were the lungs then the beating heart are the percussions. For most of the track there is a steady presence of massive low booming drums that keep the track in motion. These sounds were provided by Project SAM True Strike 2, Sonivox Flying Hand Percussion and NI Absynth. To contrast them I used the Epic Dohls from Tonehammer to give the track a feeling of suddenness as they provided a shard rushing sound to mix. With them I could rush at the listener if I needed to.

    A big part of the sound is the female vocals provided by Tonehammer Forgotten Voices: Francesca library. The vocals are a key element at bringing a human side to a track filled with alien noises and on rushing sounds. They brought warmth and emotion. They also increased the feeling of alienation from as they brought an element of home into the dark and hollow soul of the track.

    An interesting fact about this track is that for once I didn't spend more than an hour tweaking the mix. It had all come quite nicely together in the composing phase, so the end mixing consisted of some equalizing and level checking. Wish every project was as easy to mix.

    In the end this kind of sound is something I want to explore more and will do so as I compose the other parts of "After the fall" concept album.

    Gear I used for these tracks:

    DAWs and editors:
    • Cakewalk Sonar 7
    • Sony SoundForge 7
    Samplers, instruments and effects:
    • NI Kontakt 4
    • NI Absynth 5
    • NI FM8
    • NI Battery 3
    • PSP Nitro
    • NI Guitar Rig 4 Pro
    • UWI Workstation
    • Timeworks Equalizer
    Libraries:
    • Tonehammer Epic Dohl
    • Tonehammer Forgotten Voices: Francesca
    • Sonivox Flying Hand Percussion
    • Project SAM True Strike 2
    • Project SAM Brass
    • NI Battery 3 Library
    • NI Kontant 4 Library
    • Cinematique Instruments Bowed Psaltery
    • Soniccouture Music Box
    • MOTU Ethno Instrument
    • Vienna Horizon Series FX Percussion

    Monday, February 8, 2010

    A perfect moment of freedom

    Do you know that feeling of total independence of the world when you're pushing yourself to the extremes of your performance ability? That moment when the world around you just fades away, all the stress of daily life disappears, your mind is freed from all arbitrary things and the only thing left is you, your body and the movement?


    This is my first track of the year 2010. For quite a while now I've wanted to do a track about movement. The idea came out of watching pictures of parkour and free running. Both sports break the norms of moving in the urban environment by finding alternative routes going about. They both contain a certain search for freedom. Then again one can experience freedom from the world in basically any sports you really concentrate on. For me this happens every time I walk into a Brazilian Jiu-Jitsu gym. What's outside the walls doesn't matter, it simply doesn't exist. The only thing that matters is the movement you're doing right then and there.

    I actually had less trouble figuring out where to start than with most tracks. Somehow this track seemed so clear from the start. I wanted to use a lot of airy instruments in this one. For that I fired up several NI Absynths and a few NI Reaktors, since they provide some of the best soundscaping possibilities. Also on the top of my list was Soniccouture's Pan drum, a sampled hang drum. It has an amazing out of this world sound, which was just perfect for this song. They created the backbone of this track. On top of them I layered lush strings, ethnic percussions, massive french horns, a Chinese Gu Zheng zither, the legendary Japanese Shakuhachi flute and a Boesendorfer grand piano.

    As I said this track is more about the feeling than head on action. That's why I didn't write hectic drum lines, even though there is a strong beat in the song. Hectic just wasn't what was needed. Tranquility is more like it. A slight meditative state of mind, without actually being meditative music. This thought I carried with me to the melodies. They're ambient in nature, but there are parts you can grab a hold of. The different instruments play with each other, one taking the lead after another. I'm thrilled that the mesh of different sounds came out so well. For me the sounds of this track breathe positive energy out of the speakers.

    This is also one of those tracks I'm completely satisfied with. I wouldn't change one note or sound from it. Creating this track has been a real pleasure.


    Gear I used for this track:


    DAWs and editors:
    • Cakewalk Sonar 7
    • Sony SoundForge 7
    Samplers, instruments and effects:
    • NI Kontakt 4
    • NI Absynth 5
    • NI FM8
    • NI Battery 3
    • NI Massive
    • NI Reaktor 5
    • Vienna Instrument
    • EastWest Quantum Leap PLAY
    • UWI Workstation
    • Noizware TriDirt
    • Cakewalk Perfect Space
    • Sonic Timeworks Equalizer
    • Kjaerhus Classic Master Limiter
    Libraries:
    • Analogue Drums Big Mono
    • Fixed Noise OTTO
    • Soniccouture Gu Zheng
    • Soniccouture Konkrete
    • Soniccouture Konkrete 2
    • Soniccouture Pan Drum
    • Vienna Horizon Series Epic Horns
    • Vienna Special Edition
    • Tonehammer Epic Dohl
    • EastWest Quantum Leap Ministry of Rock
    • MOTU Ethno Instrument

    Thursday, February 4, 2010

    EMMA music awards gala 2010

    I had an interesting project to work on: writing music for a music awards gala show. This was again new ground to tread on, since I've never composed music for a live awards show before.

    The theme of the show was the circus. But we didn't want it to sound like your traditional circus but a more modern, a little macabre circus. Then again we didn't want it to sound like any other Finnish award show and so we opted to go big.

    To get that massive sound I turned to Tonehammer's Epic Dohls and slave ships. You know the age old worn out image of slaves rowing and an obese guy in a loin cloth beating their pace. That's what I started from. To get that kind of driving solid beat at the core of the music. The same drums control the music in different variations from one cue to another. The music in all is percussion driven with several smaller percussions and electric and acoustic drum kits joining in.

    The next step was to create the kind of circus atmosphere without going too traditional. Electronics was what everybody wanted. But what kind of electronics? You couldn't go too spacey and or too pop. In the end I chose to use some really odd electronic sounds to form the basic progression. They're on the border of being really out there, but still have an edge of familiarity. They also gave the music that desired macabre feel. Needless to say that I relied heavily on NI Absynth. An important element was also Tonehammer Phonautogram library.

    On top of these core elements I wrote layers of stuff ranging from light string arrangements to rough and tough heavy guitar riffs via ethnic flavors and electronic buzzings. They come and go as the elements of the show require them to do so.

    An interesting part of the project was writing background music for a magician performing there. This is where I broke the basic back bone which had dominated the other cues. It needed to be swifter than the rest and I think it needed a more mysterious air about it. The sound here is still dominated by the Epic Dohls, but massive brass and strings come out to play essential parts. The end result is a mixture of awe and fright. And I like it.

    One of the things about this project was that I didn't actually get to see the results until the show was aired. Everything was being developed still on the day before the show I had no idea how all the elements would work together. In the end it worked well, which is always a relief.

    As I've said all along this was an interesting composing project and I'm glad I got the chance to do it.

    Update 6.2.2010: Finally I have these in presentable form so here's a bite of what the music sounded like.

    The Nominee Categories is mixed from several different loopable elements, so don't mind the rough edges.

    Gear I used for this project:

    DAWs and editors:
    • Cakewalk Sonar 8.5
    Samplers, instruments and effects:
    • NI Kontakt 3
    • NI Absynth 4
    • NI FM8
    • NI Massive
    • NI B4 II
    • NI Battery 3
    • NI Koreplayer
    • NI Guitar Rig 3
    • QuikQuak Upstereo
    • MeldaEqualizer
    • Kjaerhus Classic Master Limiter
    Libraries:
    • Tonehammer Epic Dohl
    • Tonehammer Phonautograms
    • Tonehammer Gnomehammer Kazoo Ensemble
    • NI Kontakt 3 Library
    • NI Battery 3 Library
    • Project SAM Brass
    • Sonivox Flying Hand Percussion
    • Ilio Origins
    • Hollow Sun K3 Bass Station Library