An orchestra conductor faces the ultimate leadership challenge: creating perfect harmony without saying a word. In this charming talk, Itay Talgam demonstrates the unique styles of six great 20th-century conductors, illustrating crucial lessons for all leaders.
John Schafer over at the Soundcheck talkshow has an interesting podcast up about the return of the advertising jingle:
Advertising jingles used to play a crucial role in drumming up sales, but with time they became hokey and hopelessly outdated.
Now, they’re making a surprising comeback. Stuart Elliott, the advertising columnist for The New York Times, discusses the recent trend. And pianist and composer Roy Eaton tells us about his days as a jingle writer.
Over at the Gamespot Sound Byte blog, Sophia Tong has posted a great interview with Starcraft 2 audio director Russell Brower:
GS: In terms of sound design, how did you approach Starcraft II to get the right sound for the game?
RB: Well, we built upon the soundscape that was established in Starcraft, so we do consider the sound for Starcraft II evolutionary rather than revolutionary. So that meant continued use of mechanical sounds. We recorded an endless number of small contraptions. There were large machines; there are sounds made from electronics and synthesizers; and of course with the zerg, there were a lot of fairly gross sounds that came from our various concoctions of flour, water, salt, and goop…and a lot of unmentionable stuff that made our studio a challenge to clean up afterward.
Get ready for a funky ride as the Who Sampled blog explores the 10 most sampled breakbeats in history:
You can’t mention sample-based music and not talk about drum breaks. In the early 1970′s, years before producers had begun chopping up old records on samplers, Jamaican-born and Bronx-based DJ Kool Herc introduced a new approach to mixing records, paving the way for the development of Hip-Hop beatmaking. At the time, when playing extended disco mixes and heavy funk, Herc noticed that it was the instrumental versions, and often the percussion-only breaks in the middle of those records, which sent the crowds wild. He began extending these instrumental passages by hand, switching from one record to the next, chopping from break to break. Bedroom producers soon began looping drum breaks on cassettes, and eventually, the arrival of dedicated digital samplers and drum machines made the job easier, allowing far greater control and manipulation.
Here’s number 10 -- ‘Ashley’s Roachclip’ by The Soul Searchers (breakbeat appears at 3:31)
The break from ‘Ashley’s Roachclip’ was made famous by its use on ‘Paid In Full‘ by Eric B. & Rakim. It became a late 80′s / early 90′s chart music staple, famously used on ‘Set Adrift on Memory Bliss‘ by P.M. Dawn, ‘Unbelievable‘ by EMF and even Duran Duran‘s 1993 single ‘Come Undone‘. In 2008, Lloyd and Lil Wayne paid tribute by using it again on ‘Girls Around the World‘.
‘Inception’ opened in Danish theaters yesterday, and I’m really looking forward to seeing it. Check out this recording from the ‘Inception’ US premiere, featuring live performances of some of tracks from the movie:
It’s a composer’s job to unlock the imagination of their directors, translating their flights of fantasy into melody. Few musical dreamweavers have shown as much imaginative dexterity in that regard as Hans Zimmer. Yet even fewer directors have given Zimmer a true match for his talent like Christopher Nolan, whose enigmatic oeuvre consists of such head scratchers as “Memento,” “Insomnia” and “The Prestige,” not to mention two movies featuring The Dark Knight, whose imposing bleakness was abetted by the anti-hero rhythms of Zimmer and James Newton Howard.
If hearing Nolan’s imagination was a tough nut for Zimmer to crack before, then his new film “Inception” takes the filmmaker’s intellectual bent to spectacularly inscrutable heights. It’s a brain-bending, sci-fi tinted mix of “Mission Impossible,” impeccably dressed James Bond action and enough meditations on the nature of humanity and dreams to make Carlos Castaneda scratch his head. Providing a thematic through line to “Inception”‘s multiple, and insanely complicated plains of dream action is an equally surreal, and beautifully thrilling score by Hans Zimmer.
Hear the interview below, or hop on over to the original post here.