This post is the eighth instalment of a weekly series in where I share a list of the five coolest things I’ve found (or explored) that week.
1. Studio Time w/Junkie XL: TOMB RAIDER (Part 1)
2. VSL Setup (Multi-Computer Kontakt Composer Setup)
Composers often have more than 2000 channels in any given D.A.W. project, all running Kontakt libraries. One computer just could not handle all of that required processing power. Unbeknownst to myself until yesterday, there is a way around this through using a multi-computer setup. The videos below will give you a better understanding of the concept, but in a nutshell, it is possible to use multiple computers all running Kontakt libraries, controlled from your central computer. Your main workstation will send the MIDI information to the computers handling the instruments, they then will send the audio data back to the main machine, all without any noticeable latency.
3. How Audio Compressors Work
I have often found that animation videos, when done right, can give you a fantastic insight into concepts that can be otherwise seemingly difficult to explain. This video is the best I’ve come across for teaching what the often elusive audio compressor does.
4. The Fermi Paradox — Where Are All The Aliens?
Not all of my featured finds are intended to be centred around music production or even music. I’m trying to share things that I have found interesting or something that I’ve recently learnt. One of those things this week was the Fermi Paradox. The concept attempts to depict why we’re yet to have found extraterrestrial life and why we never will. I don’t agree nor disagree with the idea, as I don’t consider myself educated enough to have a well-researched opinion on this subject, I just find the concept fascinating especially with how well made the below videos are.
5. What I’m reading:
How Music Works by David Byrne.
How Music Works is David Byrne’s rem arkable and buoyant celebration of a subject he has spent a lifetime thinking about. In it, he explores how profoundly music is shaped by its time and place, and he explains how the advent of recording technology in the twentieth century forever changed our relationship to playing, performing, and listening to music.
Acting as historian and anthropologist, raconteur and social scientist, he searches for patterns—and shows how those patterns have affected his own work over the years with Talking Heads and his many collaborators, from Brian Eno to Caetano Veloso. Byrne sees music as part of a larger, almost Darwinian pattern of adaptations and responses to its cultural and physical context. His range is panoptic, taking us from Wagnerian opera houses to African villages, from his earliest high school reel-to-reel recordings to his latest work in a home music studio (and all the big studios in between).
Touching on the joy, the physics, and even the business of making music, How Music Works is a brainy, irresistible adventure and an impassioned argument about music’s liberating, life-affirming power.