#Oliver Patrice Weder

[burlveneer-music]

Oliver Patrice Weder - The Shoe Factory - the cover art (by Richard Caldicott) drew me in; it fits the music, "ambient-classical chamber jazz" if I had to put a genre on it

The Shoe Factory is the ambitious and lush new instrumental album by composer, producer and sound designer Oliver Patrice Weder. As he moved to his new home, he landed in a former shoe factory in a small village in the middle of the Tramuntana mountains of Mallorca. As his research about the village and history of the shoe factory went on, he found that there were over 60 shoe factories placed within and around his village. He decided to go and visit some of these still intact factories, equipped with microphones to capture the sound of these machines and the overall factory ambience. The employees were so passionate about their work and their role within the overall process of creating a shoe, and some of them had been at the exact same machine for 40 years. In getting to know these folks, he discovered that the sound of these machines was an integral part of their childhood and upbringing. In the summer months it gets so hot that the doors are kept open and the sound of the factories spills into the streets of the villages, for all locals to hear. With this, the sounds of the factory all of the sudden became a really meaningful thing and they became the sonic inspiration for the entire album. He combined these sounds with a brass trio, a saxophone and his usual piano and electronics - all recorded at his own shoe factory - to form the sound palette of the album. Composed, produced, arranged and mixed by Oliver Patrice Weder Piano, wurlitzer, synthesizer and electronics : Oliver Patrice Weder Alto Saxophone : Florencio Cruz French Horn : Rodrigo Martinez Peña Trombone : Tomeu Garcias Percussion: Juan Espiga

[postambientlux]

BEST AMBIENT OF 2024

BEST AMBIENT ALBUMS of 2024 curated by @holsgr

50 : Phexioenesystems - Tone Colour Garden Salmon Universe

49 : 0N4B - Somewhere, left behind 3XL

48 : Daigo Hanada & Yoko Komatsu - Where Clouds Are Born Moderna Records

47 : Ezra Feinberg - Soft Power Tonal Union

46 : Dawn Richard & Spencer Zahn - Quiet in a World Full of Noise Merge Records

45 : Hans Hjelm - Into The Night Self-release

44 : Olli Ahvenlahti - Mirror Mirror We Jazz Records

43 : Sachi Kobayashi - Lamentations Phantom Limb

42 : Sarah Neufeld, Richard Reed Parry & Rebecca Foon - First Sounds Envision Records / One Little Independent

41 : nonkeen - All good? LEITER

40 : PJS - Flora Dronarivm

39 : Félicia Atkinson - Space As An Instrument Shelter Press

38 : Anthéne - Cloudburst Home Normal

37 : Bremer/McCoy - Kosmos Luaka Bop Inc

36 : Princ€ss - Princ€ss wherethetimegoes

35 : G.S. Schray - Whispered Something Good Last Resort

34 : Jasmine Myra - Rising Gondwana Records

33 : YAI - Sky Time AKP Recordings

32 : ann annie - The Wind Nettwerk Music Group Inc.

31 : Seaworthy & Matt Rösner - Deep Valley 12k

30 : Marysia Osu - harp, beats & dreams Brownswood Recordings

29 : Fennesz - Mosaic P-VINE, Inc.

28 : Mary Lattimore & Walt McClements - Rain On The Road Thrill Jockey Records

27 : Glåsbird - A Sonic Expedition Whitelabrecs

26 : Iglooghost - Tidal Memory Exo LUCKYME®

25 : Ross Christopher & City Of Dawn - Spatio Temporal Amoveo Creative

24 : Arushi Jain - Delight Leaving Records

23 : Oliver Patrice Weder - The Shoe Factory Moderna Records

22 : Laura Masotto - The Spirit of Things 7K!

21 : Grand River & Abul Mogard - In uno spazio immenso light-years

20 : William Basinski - September 23rd Temporary Residence Ltd.

19 : Pub - Process The Wise ampoule records

18 : Altus - Ultraviolet Altus Music

17 : Seabuckthorn - This Warm, This Late quiet details

16 : Catherine Christer Hennix - Further Selections from The Electric Harpsichord Blank Forms Editions

15 : Antonina Nowacka - Sylphine Soporifera Mondoj

14 : Lori Goldston & Stefan Christoff - A Radical Horizon Beacon Sound

13 : Sam Wilkes - iiyo iiyo iiyo Self-release

12 : Slow Dancing Society - Do We Become Sky? Past Inside the Present

11 : Svaneborg Kardyb - Superkilen Gondwana Records

10 : Fergus McCreadie - Stream Edition Records

9 : Fabiano do Nascimento & Sam Gendel - The Room Real World Records

8 : Robert Rich & Luca Formentini - Cloud Ornament Self-release

7 : Ludwig Wandinger - Is Peace Wild? light-years

6 : Aidan Baker & Stefan Christoff - Januar Time Released Sound

5 : Hatti Vatti - Zeit R&S Records

4 : Larum - The Music of Hildegard von Bingen | Live at Public Records Puremagnetik

3 : Florian T M Zeisig - Planet Inc STROOM.tv

2 : Alva Noto - Xerrox, Vol.5 NOTON

1 : Lorenzo Montanà - VION n5MD

• BEST EP's 10 : Logic Moon & Henrik Meierkord - Ewiger Wald Dronarivm 9 : Roman Nagel - Home Bigo & Twigetti 8 : Snorri Hallgrímsson - Longer shadows, softer stones Deutsche Grammophon GmbH 7 : Oliver Patrice Weder - Grand Piano Works - Vol. II Moderna Records 6 : Wil Bolton - Quiet Sunlight Dronarivm 5 : Thaddeus - Orbiting Dreams Shimmering Moods Records 4 : PHI-PSONICS - Morning Sun / Arrival Gondwana Records 3 : Jeroen Dirrix - Feel Moderna Records 2 : Max Ananyev - Wings & Winds Self-release 1 : Arborra - Arborra 7K!

• HONORABLE MENTIONS Nicolas Jaar - Archivos de Radio Piedras Rafael Toral - Spectral Evolution Horacio Vaggione - Schall / Rechant Laura Misch - Sample The Earth Oliver Coates - Throb, shiver, arrow of time Nils Frahm - Paris Nala Sinephro - Endlessness Adaa - …img… Lau Andersson - The Weeping Siege MatC - Utoscapes Olivia Belli - Intermundia Alaskan Tapes - Something Ephemeral Mike Nigro - Leaving/Returning Michael Scott Dawson - The Tinnitus Chorus Bill Laurance & The Untold Orchestra - Bloom Bill Laurance & Michael League - Keeping Company Vegyn - The Road to Hell Is Paved with Good Intentions Shay Hazan - Wusul وصول Sam Gendel & Sam Wilkes - The Doober Blake Lee - No Sound In Space T.R. Jordan - Dwell Time II Perila - Intrinsic Rhythm Tristan Arp - a pool, a portal Lynn Avery & Cole Pulice - Phantasy & Reality Matthew Ottignon - Volant Holy Tongue & Shackleton - The Tumbling Psychic Joy of Now

• BEST REISSUES Fennesz - Venice 20 Aphex Twin - Selected Ambient Works Volume II [Expanded Edition]

[13melekradyo]

16 Mart 2024 tarihli program kaydı.

Güncel modern kompozisyon kayıtlarından bir seçki // A selection of recent modern composition recordings. Download.

01 – Ben Lukas Boysen & Lisa Morgenstern – Some Kind Of Pattern 02 – Jordi Forniés – Hela Nokto 03 – Taroug – Darts Kites 04 – Linus Alberg – Panther 05 – Oliver Patrice Weder – Village Talk 06 – Moshimoss – Late 07 – Stephan Moccio – Nightingale 08 – Glowworm – The Garden 09 – Danny Clay – Part 4 10 – Glacis – I Shut My Eyes And The World Drops Dead 11 – Daniel Elms – The Age Of Spiritual Machines (excerpt) 12 – Alison Cotton – The Letter Burning 13 – Dustin O'Halloran – Spiritus Naturae Aeternus

[theam-cjsw]

The AM: November 13, 2023

Early-morning ambiance, trip-hop atmospherics, dream-pop beauties, and upbeat instrumentals—it's another set of musical mantras for Monday mornings to ease you into the week. Streaming links and full track listing follow for your convenience.

Stream on CJSW

Soundcloud

Spotify playlist (missing a few tracks, but that's what you get)

Hour One:

It Is Isn't It M. Sage & Zander Raymond • Parayellowgram

The River Has Many Ways of Being - Bigfoot Jessica McMann • Prairie Dusk

Floating With an Intimate Stranger Mike Reed, Ben LaMar Gay, Marvin Tate, Bitchin Bajas • The Separatist Party

Dawn Blessings Bex Burch, featuring Macie Stewary • There is only love and fear

I’d Like the Birds to Teach Me How to Fly Oliver Patrice Weder • Single

mdhvn Markus Floats • Fourth Album

Inexplicable Notion (Location Specific) Asa Tone • Temporary Music

Japanese Protein untrained animals • UT8

Intercellular Communication AUTORHYTHM • Songs for the Nervous System

Treading Water Bristol Manor • The Other Side

Hour Two:

Osmosis HOPE • Navel

Future Reminiscence Silver Apples, Makoto Kawabata • Mirage

Afterimage Public Memory • Elegiac Beat

Goding of Think Badge Époque Ensemble • Air, Light & Harmony

Half Dreaming Reprise CFCF • Continent

You Hear Colours CFCF • Continent

Nuevo Sol Mint Field • Aprender a Ser

Melancholy Molly Seablite • Lemon Lights

Chained to a Cloud Slowdive • everything is alive

So Low Sinthia • Single

Hour Three:

Hard to Say Goodnight Living Hour, featuring The Ophelias • Single

Heaven Levitation Room • Strange Weather

Pan over the hill ML Buch • Suntub

Hide to Seek Laura Misch • Sample the Sky

Leave and Care Less Jilk • Found Little Lost

Golden Hour Ginger Beef • Ginger Beef

Cappe Bianche in Fiamme Futuropaco • Fortezza di Vetro, Vol. 1

…et des éclairs ce qui nous traverse • Particules Sainte-Barbe

2020 Faith Healer • The Hand That Fits The Glove

Alegria Em Movimento Misha Panfilov • Atlântico

[eicke]

Also worth checking out the sample library on Spitfire Audio.

[joshmcclenney]

DAY 1,351: “All In Order”

DATE:

7-3-22

MOOD:

Much

MUSIC:

[audiowision]

Week 10

Progress has been halted with ‘Stay with You’ since we are still waiting on the new timing of the animation, but we have followed up and it should be ready by tomorrow (Monday 17th March). I’ve received the first 30 seconds of ‘Cyberstatic’ and is in progress with revision for the audio (tempo, mood, etc). I will resample my old draft as building blocks for the new version. The total run-time of the vision has also been reduced from 1:30 to 1 minute, so it will make things a bit easier. I’m confident I can get both done by the deadline. 

I’ve spent this week looking at some of the Spitfire Audio videos to brush up on techniques with composing in the box. This included Christian Henson’s video on orchestral programming (https://www.youtube.com/watch?v=7Vxj4ghJHtY&ab_channel=SpitfireAudio), and Oliver Patrice Weder’s creating trailer music to a brief (https://www.youtube.com/watch?v=SWFEig6Is_0&ab_channel=SpitfireAudio). 

Weder showcases his creative process when handling a brief from a director for composing trailer music, using the Spitfire sample libraries. He mentions that composers usually deliver a suite/main theme to ensure the general direction and tone of the composition is to the liking of their client (production company, director), and musical references are sometimes provided. Weder also recommends that when getting reference of other composer’s music such as Hans Zimmer to not “rip off” their track but to extract the mood and emotions they are after from their music (undulating, uplifting, etc), using different chords or instruments. 

Henson talks about taking advantage of the dynamic layers of high quality sample libraries using velocity to gain greater control over timbre variations. He demonstrates this using the expression control on the Spitfire sample libraries. It is also important to constantly modulate the dynamic and expression in sustained sections so it doesn’t sound static and stagnant. Adding reverb in post also helps to keep the instrument to stay in the same “room” or space, as different expressions and dynamics could take away the room from the sampled instrument. For the greatest result, it is ideal to split the voicing to different channels, and automate them separately for extra dynamics and realism. Dynamic control in brass instruments is essential, as their timbre varies from soft and mellow, to bright, growling and metallic. 

[invisibleradio]

Oliver Patrice Weder – People 

[thetapelessworld]

Spitfire Audio applies evolutionary Evo Grid technology to blockbuster-sounding symphonic strings

Spitfire Audio applies evolutionary Evo Grid technology to blockbuster-sounding symphonic strings

Spitfire Audio, purveyors of the finest virtual instruments from the finest musical samples in the world, is proud to announce availability of SPITFIRE SYMPHONIC STRINGS EVOLUTIONS — a world where pristine symphonic sampling meets Spitfire Audio’s more progressive Producer Portfolio range to create an evolutionary experience by applying the company’s cutting-edge Evo Grid technology to the same no- expense-spared session recordings responsible for its sought-after 60-star-string-player-performing, blockbuster- sounding SPITFIRE SYMPHONIC STRINGS library like no other — as of August 18...

With PP017 EVO GRID 1 and PP020 EVO GRID 2 — respectively subtitled EVOlving Stringscapes and Second EVOlving Strings, Spitfire Audio unleashed upon an unsuspecting musical sampling world a whole new way of working with long string articulations. By recording a number of very long notes that change or mutate over time across the entire range of the keyboard, and allowing different evolutions — Evos in ‘Spitfire- speak’, A-listers and amateurs alike could create profound end results in hitherto unheard ways. What’s more, those note lengths are different across each Evo to increase the randomness of what the user creates.

Creating such randomness is simplicity itself, however, thanks to the onscreen Evo Grid that lent its name to those trailblazing libraries and carries through to the latest SPITFIRE SYMPHONIC STRINGS EVOLUTIONS. There are 48 Evos available across the top of the grid while the keyboard range is listed on the left-hand side, split up and notified by the Note Centre in each range. To assign an evolution to a note range, place a (virtual) peg in the relevant hole on the grid itself — inspired by the breakthrough British EMS VCS3, which made musical history upon its introduction in 1969 by being the first commercially portable synthesiser available anywhere in the world, thanks to its innovative modular matrix-based patchboard dispensing with the telephone exchange-like cabling of other (much larger) modular systems in favour of making space-saving connections with (removable) coloured pegs.

Putting that Evo Grid technology, based on an easy-to-use evolution engine, into its rightful perspective within SPITFIRE SYMPHONIC STRINGS EVOLUTIONS, Spitfire Audio Director Paul Thomson — an in-demand media composer himself — has this to say: “The idea behind this was that quite often you need to create music which has a feeling of evolution — a feeling of movement and excitement, shimmer, and all of that kind of stuff, but the director doesn’t want you to do anything. They say, ‘We want music that doesn’t really do anything, but want it to evolve — want it to feel like there is a growing tension or some pressure or something.’ So these evolutions have been orchestrated by Ben Foskett. Each of them have an individual concept, and then they’re recorded over the entire keyboard in groups — Cells — with a 60-piece string orchestra in the hall at AIR Lyndhurst — beautiful, massive, lush sound. You get a really interesting texture developing, so these do sound quite different from our other Evo Grid products, which are smaller string sections, so sound a bit more gritty and in your face. This is a more widescreen and a kind of lush sound, but yet you still have those really interesting textures that develop when you have a group of players who are all following the instructions, but all timing things slightly differently.”

Do not forget, though... since SPITFIRE SYMPHONIC STRINGS EVOLUTIONS was recorded during the same session as its SPITFIRE SYMPHONIC STRINGS sibling, it features the same 60 star string players (16 1st VIOLINS, 14 2nd VIOLINS, 12 VIOLAS, 10 CELLOS, and eight BASSES) — all handpicked from the best orchestras in London — performing 48 Evos orchestrated by established contemporary concert composer Ben Foskett. All are performed in situ as they would be in a major scoring session, captured in the revered acoustic of Lyndhurst Hall within London’s legendary AIR Studios using the same high-class equipment — priceless valve and ribbon mics, Neve ‘AIR Montserrat’ preamps into a Neve 88R large-scale console, all recorded at 96kHz via a 2-inch Studer tape machine — to create an emotive and musical library that is rich in both beautiful and tense symphonic string parts.

Put it this way: “SYMPHONIC STRINGS EVOLUTIONS is an incredibly creative tool, and a lot of fun to use; it can really bring a lot of texture to your compositions.” So says Paul Thomson by way of an appropriate closer. Can’t say fairer than that!

SPITFIRE SYMPHONIC STRINGS EVOLUTIONS can be purchased and digitally downloaded (as 36.6 GB of uncompressed .WAV files, featuring 4,703 samples) for a time-limited introductory promo price of £229.00 GBP (inc. VAT)/$249.00 USD/€259.00 EUR (inc. VAT) until Thursday, August 31, 2017 — rising thereafter to an MSRP of £269.00 GBP (inc. VAT)/$299.00 USD/€309.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/spitfire-symphonic-strings-evolutions/

Note that SPITFIRE SYMPHONIC STRINGS EVOLUTIONS needs Native Instruments’ free KONTAKT PLAYER (5.5 and above) — included in the purchase — while Spitfire Audio’s free Download Manager application for Mac or PC allows anyone to buy now and download anytime.

For more in-depth information, including several superb-sounding audio demos, please visit the dedicated SPITFIRE SYMPHONIC STRINGS EVOLUTIONS webpage here: https://www.spitfireaudio.com/shop/a-z/spitfire-symphonic-strings-evolutions/

Watch Spitfire Audio Director Paul Thomson’s ‘traditional’ SPITFIRE SYMPHONIC STRINGS EVOLUTIONS video walkthrough here: https://youtu.be/WGynVBFV3Eg     

Watch Spitfire Audio ‘composer in residence’ Oliver Patrice Weder’s SPITFIRE SYMPHONIC STRINGS EVOLUTIONS ‘In Action’ video here: https://youtu.be/_IfiOulEEQU     

Watch Spitfire Audio’s alluring promo video for SPITFIRE SYMPHONIC STRINGS EVOLUTIONS here: https://youtu.be/C3QzieTLW-U

Watch Spitfire Audio’s informative introduction to Evos video here: https://youtu.be/KJW_01vb50M     

[johnsencummingssound]

Activate the Collection - Week 7

I’ve spent a considerable amount of time over the last couple of weeks working on my Procedural Worlds sketches, including some failed attempts and some things working well. In order to have some consistency throughout the different pieces (despite some of them being quite different from each other), I’ve been trying to attach musical elements to certain themes or symbols within the concepts. The obvious choice is the use of leitmotifs which in particular worked well when attached to the idea of humanity/people as it can be interwoven in the soundtrack at different stages throughout the story. A prominent symbol earlier on in the story is that of the birds, representing the spread of Covid-19 and given harrowing nature of such a concept, my experiments with using a leitmotif to express this ended up a little cliche and overall wasn’t really working too well. I instead began experimenting with trying to attach the sound of a specific instrument to the idea of birds varying from strings to synth drones. The closest I got to something I was happy with after about a week was a patch on a Spitfire instrument that was basically swarming bells, which sort of worked conceptually, in the way the sound started off small and grew to be overwhelming, but it wasn’t particularly inspiring. I also toyed with the idea of having real life bird samples to express this but, aside from there being a very limited number of good bird samples available, it just seemed like a very ‘functional’ idea that didn’t really say much or make me feel like I had actually attempted to do something creative with it. Some time later I stumbled upon YouTuber Davidlap’s video “Animal sounds on acoustic guitar (w/bow)” which sees him effectively recreating animal-like sounds using extended and experimental techniques on a guitar with a violin bow. This idea of experimenting with an instrument to try and create a real-world sound really resonated with me and I set out trying to come up with a bird sound in this way. Eventually I had some success on electric guitar with the help of a couple distortions, delays and modulation effects. Overall the sound I came up with isn’t incredibly accurate to what birds sound like, but in my opinion the ‘slightly-off’ and twisted sound that merely resembles birds sort of works on a conceptual level given the context that it’s representing diseased and mutated birds.

Raw bird recording: https://drive.google.com/file/d/18vHg5WuwDODJDI4Wfu8r3QcH-7dUjSol/view?usp=sharing

Example 1: https://drive.google.com/file/d/1zBnQzAA7XoLNuMKz5eDg7uj_tee6gmhR/view?usp=sharing

Example 2: https://drive.google.com/file/d/162lymZAF8BjIcnbqNz9GwcuAQ4sbUs98/view?usp=sharing

During the last couple weeks, Spitfire Audio have been running some online classes based around composition, the earliest of which was “Developing Your Own Creative Voice with Oliver Patrice Weder”. In the video Weder runs through his score for a documentary he worked on quite early on in his career. My major take away from this was Weder’s emphasis on the selecting the correct tonal pallet through selection of instruments early on in the process. In the video he explores his drafting processes in order to create a main theme and then how from that original idea, composing the rest of the score was considerably easier as he either rearranged certain parts or created new cues using the same instrument choices that were approved. Although this approach may not fit every scenario, I think adopting this for Theatre Makers would be quite useful as a tool to hone in on the vibe of the documentary and keep it consistent throughout the numerous cues. By this I mean using similar instruments in my future cues to that of the offer I uploaded over the break. I think that this will help give the score within the documentary some uniformity (something that was somewhat lacking in the documentary I scored last semester) and additionally I think it will make the process more efficient as I won’t be spending as much time looking/ searching for a new sound. After hearing examples from and talking to Jean and Isabelle, it would seem we’re all on the same page as far as our cues being orchestral instrumentation in a more contemporary arrangement — which again will hopefully further this musical consistency throughout the project.

References:

Animal sounds on acoustic guitar (w/bow) https://www.youtube.com/watch?v=F_IKKBHFlo4&ab_channel=Davidlap

Developing Your Own Creative Voice with Oliver Patrice Weder https://www.youtube.com/watch?v=UbolagdzQKE&ab_channel=SpitfireAudio

[burlveneer-music]

My WVUD playlist and stream, 9/2/2024

Laurie Anderson - India And On Down to Australia (feat. ANOHNI) The Hardy Tree - All the Hours (radio edit) maya ongaku - Meiso Ongaku 1 Oliver Patrice Weder - Modern Times Krononaut - Silver Silver 英水帝江 (Ying Shui Di Jiang) - Torrents of Rain somethingmaker - Under Melaleucas Andrew Wasylyk & Tommy Perman - Remain in Memory of Full Light Drum & Lace - Plus (feat. Patrick Shiroishi) Tycho & Cautious Clay - Infinite Health Jenova 7 - Deep Star Deception Laurent Bardainne & Tigre d'Eau Douce - Oiseau (feat. Bertrand Belin) Cindy Lee - Dracula Abecedarians - Soil Slowly Rolling Camera - Rebirth Emanative - Paradox Holy Tongue & Shackleton - The Merciful Lake Zaliva-D - Illusion WaqWaq Kingdom - Hado Bataille Solaire - Sauropodes et Acacias

Listen on Mixcloud

[postambientlux]

BEST AMBIENT OF 2021

the 100 BEST AMBIENT ALBUMS of 2021 curated by @holsgr

#100 : Robert Takahashi Crouch - Jubilee (Room40)

#99 : Xu & Darren Harper - Arising & Ceasing of Things (Rottenman Editions)

#98 : Tim Linghaus - Memory Sketches II (Schole Records)

#97 : Hauschka, Rob Petit & Robert MacFarlane - Upstream (Sonic Pieces)

#96 : Ross Gentry - Prism of Dust (Polar Seas Recordings)

#95 : Will Samson & Message To Bears - Flow State Mosaic (Human Chorus)

#94 : Land System & Mara - AKIN (Spirit Level)

#93 : Gi Gi - Lumino Pleco (Quiet Time Tapes)

#92 : Oliver Patrice Weder - The Pool Project (Spitfire Audio/SA Records)

#91 : Ian Hawgood & Stijn Hüwels - Voices (Home Normal)

#90 : Kaitlyn Aurelia Smith & Emile Mosseri - I Could Be Your Dog (Prequel) (Ghostly International)

#89 : Federico Mosconi - Dreamers and Tides (Dronarivm)

#88 : Zensō - Kyūjōshō (Self-Released)

#87 : Grabek - Tiny Melodies (Interpret Null)

#86 : Zaké & Marine Eyes - Unfailing Love (Past Inside the Present)

#85 : Jakob Lindhagen & Dag Rosenqvist - Stadsbilder (Time Released Sound)

#84 : Andrew Tasselmyer - Impulses (Home Normal)

#83 : Danny Scott Lane - Caput (Schematic Music Company)

#82 : Ian Hawgood - 朝 (Home Normal)

#81 : Arushi Jain - Under The Lilac Sky (Plancha)

#80 : Lone - Always Inside Your Head (Greco-Roman)

#79 : Allred & Broderick - What The Fog (Dauw)

#78 : Danny Lubin Laden - Through Our Time (Slow & Steady Company)

#77 : Floating Points, Pharoah Sanders & The London Symphony Orchestra - Promises (Luaka Bop)

#76 : Fabio Perletta - Un Fiocco Di Neve (901 Editions)

#75 : Bendik Giske - Cracks (Smalltown Supersound)

#74 : Robert Farrugia - Voicemail (ARCHIVES)

#73 : James Bernard - Matrices (A Strangely Isolated Place)

#72 : Ai Yamamoto - Love Me Tender (Past Inside the Present)

#71 : Ffion - Unfurling (Third Kind Records)

#70 : Enrico Coniglio - Alpine Variations (Dronarivm)

#69 : Cities Last Broadcast - The Umbra Report (Cryo Chamber)

#68 : Headlock - Dragged Away (Sci-Fi & Fantasy)

#67 : Jason van Wyk - Threads (n5MD)

#66 : Pepo Galán & Shinji Wakasa - Between The Leaves (Facture)

#65 : Roxane Métayer - Éclipse des Ocelles (Morc Records)

#64 : Whettman Chelmets - For... (Self-Released)

#63 : Picnic - Picnic (Daisart)

#62 : Minotaur Shock - Chaff Probes (Bagatelle)

#61 : Lea Bertucci - A Visible Lenght of Light (Cibachrome Editions)

#60 : Seaworthy & Matt Rösner - Snowmelt (12k)

#59 : We Dream of Eden - Deeper Still (Echoes Blue Music)

#58 : Patrick Ellis - The Deserter (FLAU)

#57 : Andrew Heath - New Eden (Disco Gecko)

#56 : Dead Melodies - Fabled Machines of Old (Cryo Chamber)

#55 : N Chambers - Spectrum Garden (Self-Released)

#54 : Hania Rani - Music for Film and Theatre (Gondwana Records)

#53 : Jonas Margraff - Drown in ur Presence (Ōtium)

#52 : Valgeir Sigurdsson - Kvika (Bedroom Community)

#51 : Joachim Spieth - Ousia (Affin)

• • •

#50 : Perila - How Much Time It Is Between You And Me? (Smalltown Supersound)

#49 : Taennya - Natural Serenity (Stereoscenic)

#48 : Burning Pyre & Canadian Rifles - The Snipe & The Clam (Eastern Nurseries)

#47 : TIBSLC - Delusive Tongue Shifts Situation Based Compositions (Sferic)

#46 : Tony Anderson - Nuit (Self-Released)

#45 : Sleepsang - Beyond (INTERWORLD)

#44 : Sascha Rosemarie Höfer - Le Traviate (Lontano Series)

#43 : Amulets - Blooming (The Flenser)

#42 : The Broken Cradle - You Are Here and I Am Yours (Self-Released)

#41 : A Winged Victory For The Sullen - Invisible Cities (Artificial Pinearch Manufacturing)

#40 : G.S. Schray - The Changing Account (Last Resort)

#39 : Takuma Watanabe - Last Afternoon (SN Variations)

#38 : Arovane - Reihen (12k)

#37 : Kajsa Lindgren - Momentary Harmony (Recital)

#36 : Lowering - Find Me In The Earth, Beneath The Weeds (Disintegration State)

#35 : Coeden - Oblivia (HIDE)

#34 : Maps and Diagrams - _Modulus (Handstitched)

#33 : Landon Caldwell & Flower Head Ensemble - Simultaneous Systems (Moon Glyph)

#32 : David Shea - The Thousand Buddha Caves (Room40)

#31 : Jacob David - Mursejler (Moderna Records)

#30 : Erik Schilke - Synthesis (Hymen Records)

#29 : Byron Westbrook - Distortion Hue (Hands In The Dark)

#28 : Romain Azzaro, Sacha Hladiy, Paul Behnam, Ruth Mogrovejo, Nicolai Johansen - Colours of Now (Rouge Mécanique Musique)

#27 : Theodore Wild Ride - Theodore Wild Ride (Icarus Records)

#26 : Sébastien Guérive - Omega Point (Atypeek Music)

#25 : Onsy - MetaConc (Quiet Time)

#24 : Animated Matter - Selkie (Self-Released)

#23 : Gaspar Claus - Tancade (InFiné Éditions)

#22 : Wil Bolton - Cumulus Sketches (Home Normal)

#21 : More Light - Casual Dragon (Dancing Eagle Records)

#20 : Landtitles - Your Voice In Pieces (Slowcraft Records)

#19 : JARR - An Echo In Her Skin (HushHush Records)

#18 : Stray Theories - This Light (n5MD)

#17 : Daniel Herskedal - Harbour (Edition Records)

#16 : Gray Acres - Dreams and Phantoms (ARCHIVES)

#15 : Matt Rösner - No Lasting Form (Room40)

#14 : Viktor Orri Árnasson - Eilífur (Pentatone)

#13 : Christine Ott - Time To Die (Gizeh Records)

#12 : Ian Nyquist - Endless, Shapeless (Laaps)

#11 : ILUITEQ - The Loss of Wilderness (n5MD)

#10 : Nebel Lang - Hand In Mine (Whitelabrecs)

#9 : The Vernon Spring - A Plane Over Woods (Lima Limo Records)

#8 : Parallel Highway - Dream of Electric Sheep (Self-Released)

#7 : That Which Is Not - The Basic Sharpness of Emotions (KrysaliSound)

#6 : Arkadiusz Salwowski - Distance (LOŻA)

#5 : William Ryan Fritch - Built Upon a Fearful Void (Lost Tribe Sound)

#4 : Hugh Small & Brian Allen Simon - The Side I Never See (Melody As Truth)

• • •

#3 : Simon Goff - Vale (7K!)

#2 : Bremer/McCoy - Natten (Luaka Bop)

#1 : Atli Örvarsson - Wolka (INNI Music)

the 30 GREATEST AMBIENT EP's of 2021 curated by @holsgr

#30 : Snorri Hallgrímsson - Landbrot II (Moderna Records)

#29 : Benoît Pioulard - Silencer (Disques d'Honore)

#28 : Botany - Portal Orphanage (Western Vinyl)

#27 : Jeroen Dirrix - A Hidden Place (Moderna Records)

#26 : JAB - Currents (Joon Dada Records)

#25 : Conor C. Ellis - Cutting Out My Shadow (Self-Released)

#24 : Perila & Ulla - Memories of Log (VAAGNER)

#23 : Molly Lewis - The Forgotten Edge (Jagjaguwar)

#22 : Edward Sikorski - Basic Colours (Oscarson)

#21 : Richard Skelton - The Hollows (Aeolian)

#20 : Lee Yi - Perception of Invisible Forms (Rottenman Editions)

#19 : Daigo Hanada & Yoko Komatsu - Sayuru (Moderna Records)

#18 : Lucy Gooch - Rain's Break (Fire Records)

#17 : Lee Gamble - A Million Pieces of You (Hyperdub)

#16 : Naemi - A Week's Notice (Self-Released)

#15 : Present Guests & Marcus Nero - Losing Stream (Current Every)

#14 : Carmen Villain - Sketch For Winter IX: Perlita (Geographic North)

#13 : Bénédicte - When It Binds (Blueberry Records)

#12 : Clarice Jensen - Ainu Mosir (FatCat Records)

#11 : Jupi/ter - Islands, Pt.2 (Ambientologist)

#10 : Ekin Fil & Ella Zwietnig - Far Within Reach (Self-Released)

#9 : Endless Melancholy - Landmarks (1631 Recordings)

#8 : Frieder Nagel - The Arrival (InFiné)

#7 : Hiroco.M - Still (Moderna Records)

#6 : Michel Banabila - Descending The Mountain (Tapu Records)

#5 : Didacte - Revenir (Piano and Coffee Records)

#4 : Theatre of Delays - Súton (Rottenman Editions)

#3 : Joe Harvey-Whyte - Flatland/Spaceland (None More Records)

#2 : Erot - Gneiss (Ultimae)

#1 : Marek Kamiński - Tumult (Self-Released)

HONORABLE MENTIONS

Grasscut - Haunts

Nala Sinephro - Space 1.8

Mary Lattimore - Collected Pieces II

Thme - Silesco

KMRU - Logue

Taylor Deupree - Mur

Tyresta & Ruan - Already Complete

Jake Muir - Mana

Faith Coloccia & Philip Jeck - Stardust

Manja Ristić - Kairos & The Dwellers

Nils Frahm - Old Friends New Friends

Arca - kiCK iiiii

The Lifted Index - Sanctuary

Growing & Mary Lattimore - Gainer

Ben Seretan - Cicada Waves

Clariloops - Sun//Rain

Jos Smolders & Jim O'Rourke - Additive Inverse

Hiatus - Distancer

Peter Gregson - Patina

Ryan J Raffa, Nico Rosenberg & The Svara Ensemble - Velā

Matt Robertson - Enveleau

John Thayer - Supermundane

Maenad Veyl & The Sarcasm Ensemble - Comfort in Misery

Eduardo Briganty - Entelequia

Shabason, Krgovich & Harris - Florence

Henry the Rabbit, Beatrice Morel Journel & Semay Wu - Songs of The Marsh

Olec Mün - Vögel

MastroKristo - Departures

Jusell, Prymek, Sage, Shiroishi - Shiki

David Allred - Driving Through the Aftermath of a Storm on a Clear Day

Awakened Souls & From Overseas - Keep the Orange Sun

Lauge & Perry Frank - Selvascapes

Robert Scott Thompson - As First Star Wakes, She Wanders There

Madre Vaca - The Elements

T.Griffin - The Proposal

Shinpal - Blue Stories

Stefán Halfsteinsson - Heima

France Jobin - The Fluidity of Time Does Not Exist

Forest Robots - Amongst a Landscape of Spiritual Reckoning

Mike Lazarev - Out of Time

Fancisco Sonur - Morning Trials

Sabled Sun - 2149

Henrik Meierkord - Kval

Havana Swim Club - Havana Swim Club

Relaxer - Concealer

Woulg - Bubblegum

FRKTL - Azimuth

Holy Similaun - Ansatz

Feral - The End

Plague Mother - Carrying Your Halo

Milio - Ave

Slow Meadow - Upstream Dream

Celia Hollander - Timekeeper

Taylor Deupree & Marcus Fischer - Proem

Mario Batkovic - Introspectio

Szymon Kaliski - Gaze Into The Sun

Tomonari Nozaki - waves

Past Palms - Empyrean

Demetrio Cecchitelli - Ruins

BEWATER - Inside Sea

Anthéne - Held

Experimental electronic & Ambient music blog made by Hermann Holsgr. linktr.ee/postambientlux

[13melekradyo]

30 Eylül 2023 tarihli program kaydı.

Güncel modern kompozisyon kayıtlarından bir seçki // A selection of recent modern composition recordings. Download.

01 – Anenon – Moons Melt Milk Light 02 – Alessandro Sgobbio – Modular Circles 03 – Peter Broderick & Ensemble 0 – Tower Of Meaning III 04 – Megan Perry Fisher – Pensée IV 05 – Rose Riebl – Kimono 06 – Olive Patrice Weder – Village Talk 07 – Bary Hudson-Taylor – Places 08 – Akira Kosemura – Looking In The Same Direction 09 – Yann Tiersen – Ker Al Loch (Solo Piano) 10 – Hildur Guđnadóttir – Confession

[13melekradyo]

Güncel modern kompozisyon kayıtlarından bir seçki // A selection of recent modern composition recordings. Download.

01 – Drexler – Ghosts Have Arrived 02 – Bruce Brubaker & Max Cooper – Metamorphosis 2 03 – Mary Lattimore – Sometimes He's In My Dreams 04 – Julia Gjertsen – Okno 05 – Oliver Patrice Weder – People 06 – Peter Broderick – Earnest Leslyle 07 – Josh Kramer – What Used To Be 08 – Noirepolde – Photograph 09 – Winterdagen – Phase In 10 – Adrian Lane – Atlas Browsing 11 – Marco Lucchi & Henrik Meierkord – Pupilla 12 – Jeremy Bible – Broken Ecologies III (excerpt)

[thetapelessworld]

Spitfire Audio Release ERIC WHITACRE CHOIR

Spitfire Audio Release ERIC WHITACRE CHOIR

Spitfire Audio is proud to announce availability of ERIC WHITACRE CHOIR — capturing the breathtaking range of that most personal of musical instruments, the human voice, joyfully crafted and conducted from within the luxurious Lyndhurst Hall at London’s legendary AIR Studios by namesake GRAMMY® Award-winning American composer, conductor, and speaker Eric Whitacre (famed for his so-called ‘Virtual Choir’ projects bringing individual voices from around the globe together into an online choir, as well as his choral, orchestral, and wind ensemble music), ultimately showcasing his 22-singer-strong The Eric Whitacre Singers as Spitfire Audio’s arguably most anticipated virtual instrument library release to date — as of October 25…

ERIC WHITACRE CHOIR really represents one of Spitfire Audio’s largest library undertakings to date, taking the sound-specialising British music technology company’s decade’s worth of sampling experience and applying an authentic approach, affording music-makers a creatively-inspiring choral library that uses voices just like any other section of its orchestral libraries like no other. Famed for its exceptional acoustics, stunning architectural features, and natural light, as well as accommodating a full symphony orchestra with choir simultaneously as one of the largest recording rooms in the world, one of the world’s most experienced sampling teams returned — with Eric Whitacre and his 22-singer-strong The Eric Whitacre Singers in tow — to London’s legendary AIR Studios' luxurious Lyndhurst Hall to record the large library in question. “It was magical,” marvels the man himself, before adding: “It must be my favourite recording room in the world. There’s something about the atmosphere in there; it’s absolutely perfect for voices. It’s got just the right amount of bloom, and the spiritual uplift of its original intention as a church.” Charged with capturing this — via an ‘ear-watering’ selection of sought-after microphones, pristine preamps, and legendary tape machines — was recording and mix engineer extraordinaire (and Spitfire Audio regular), Jake Jackson, justly ensuring that the resulting stunning-sounding ERIC WHITACRE CHOIR shares the same acoustic DNA of Spitfire Audio’s acclaimed orchestral catalogue, so works well with any of those libraries. Lest anyone needs nudging in its general direction, Spitfire Audio is also renowned for its innovative Evo Grid technology. Simple in principal, inspiring in practice, the grid — itself inspired by the breakthrough British EMS VCS3, which made musical history upon its introduction in 1969 by being the first commercially portable synthesiser available anywhere in the world, thanks to its innovative modular matrix-based patchboard dispensing with the telephone exchange-like cabling of other (much larger) modular systems in favour of making space-saving connections with (removable) coloured pegs — takes samples that change in different ways over time and arranges them across the keyboard. Play a simple gesture or chord and it will weave a ‘micro-composition’ that never stands still. Simply speaking, users of ERIC WHITACRE CHOIR can construct their own Evo — ‘Spitfire-speak’ for evolution — by placing an ‘EMS-esque’ (virtual) peg in the relevant hole on the aptly-named Eric Whitacre Choir Evo Grid screen or hitting the randomise button to generate automatically a unique instrument from an almost infinite array of possibilities! Always original, and always musical.

Evidently ERIC WHITACRE CHOIR doesn’t disappoint in that regard; in addition to a full set of orchestral samples — the Choir section of which includes six soprano, five alto, and six bass singers totalling 170 techniques, Spitfire Audio also recorded another stunning-sounding Evo Grid, with each element — 111 evolutions, no less — sculpted by Eric Whitacre. Where the choir meets that Evo Grid technology, a new instrument is born, one that so impressed Eric Whitacre that his was musically moved to comment: “Frankly, I wish I could compose like this in everyday life. The idea is that you can take up to three or four of these evolutions and combine them, or cycle through them as one of them evolves, and suddenly you’re painting music a totally different way, sculpting sound in real time. You can create minutes of profoundly beautiful music in this way.” While clearly converted to the joy of working with his namesake Eric Whitacre Choir Evo Grid, when Christian Henson and Paul Thomson — fellow founders of Spitfire Audio — approached Eric Whitacre with the idea of sampling his choir, he took time to consider the project before eventually realising that this was the perfect vehicle with which to free composers from preconceptions about the voice and how it can be used in music. According to Eric Whitacre, “The palette of sounds is much broader than many people think when it comes to just using voices — from delicate whispers to gritty sounds at the back of the throat, to shimmering clouds of overtones.”

Once onboard the good ship Spitfire Audio, Eric Whitacre set sail towards finding himself at home with the microscopic detail of sampling. Indeed, it reflects his approach to composition, with which he crafts every sinew of sound to have its own musical life and integrity, or, as he puts it, “... hyper-musicality.” Many weeks of recording saw him conducting his choir for every thread of music destined to be housed in the ERIC WHITACRE CHOIR library, conjuring up sounds that range from familiar vocal techniques — including vowels and open vocalisations whose harmonic content transforms with changes in mouth shape — through to more unusual articulations, including shorts and rhythmic passages.

Pressing into play the welcomed assistance and advanced skillset of design and user-experience agency ustwo — responsible for DICE, the world’s fastest- growing live music discovery app, and MONUMENT VALLEY, a surreal exploration through fantastical architecture and impossible geometry, ERIC WHITACRE CHOIR creatively delivers as a bespoke, self-contained (AAX-, AU- VST2-, and VST3-compatible) plug-in, developed primarily for composers, by composers. Above and beyond that, though, it is an exceptional library, filling 200GB of audio that transcends choral cliches of sacred, angelic, and apocalyptic as an encyclopaedia of the voice, vying to enrich any composition. Cue a thought-provoking closing commentary from Eric Whitacre: “What I love about writing for voices is that sometimes a simple minor triad is all you need — no need to dress it up. It’s sophisticated because it’s so simple. And it has a gravity to it. It goes deep — at a cellular level.” Like ERIC WHITACRE CHOIR itself, surely? ERIC WHITACRE CHOIR can be purchased and digitally downloaded — as a dedicated (AAX, AU, VST2, and VST3) plug-in for Mac (OS X 10.10, 10.11, macOS 10.12, 10.13 — 200GB HD or SSD space required) and PC (Windows 8, 10 — 200GB HD or SSD space required) — for a time-limited introductory promo price of £399.00 GBP (inc. VAT)/$449.00 USD/ €449.00 EUR (inc. VAT) until November 9, 2018 — rising thereafter to an RRP of £549.00 GBP (inc. VAT)/$599.00 USD/€599.00 EUR (inc. VAT) — from here:

https://www.spitfireaudio.com/shop/a-z/eric-whitacre-choir/ For more in-depth information, including some superb-sounding audio demos, please visit the dedicated ERIC WHITACRE CHOIR webpage here: https://www.spitfireaudio.com/shop/a-z/eric-whitacre-choir/

Watch Spitfire Audio Director Paul Thomson’s ‘traditional’ video walkthrough of ERIC WHITACRE CHOIR here: https://youtu.be/ca1G-4nMXtg

Watch Spitfire Audio Director Christian Henson’s haunting contextual video, beautifully blending ERIC WHITACRE CHOIR with HANS ZIMMER STRINGS and ÓLAFUR ARNALDS CHAMBER EVOLUTIONS here:

https://youtu.be/uhE726Fbn4w

Watch Spitfire Audio ‘composer-in-residence’ Oliver Patrice Weder’s ‘In Action’ video for ERIC WHITACRE CHOIR here: https://youtu.be/PP2Wb2AtyCQ

Watch Spitfire Audio’s ambiguous yet tantalising trailer video for ERIC WHITACRE CHOIR here:

https://youtu.be/W30h9f5bVpw

Watch another ambiguous yet tantalising trailer video for ERIC WHITACRE CHOIR from Spitfire Audio here:

https://youtu.be/_1W9k0tUDyw

Watch Spitfire Audio’s alluring final trailer video for ERIC WHITACRE CHOIR here:

https://youtu.be/4KdLYDRqJlc

https://www.spitfireaudio.com/shop/a-z/eric-whitacre-choir/

[thetapelessworld]

Spitfire Audio is proudly reintroducing eDNA EARTH

Spitfire Audio is proudly reintroducing eDNA EARTH

Spitfire Audio is proudly reintroducing eDNA EARTH — enriching its epic collection of synthesised orchestral sounds created from ten years’ worth of widely-used, wide-ranging organic orchestral live recordings with which it has made its notable name as a British music technology company that specialises in sounds, this time warped or morphed into different textures and amazing state-of-the-art electronic soundscapes, served up via an easy-to-use, ultra-controllable GUI giving access to all areas of new sonic experimentation, enhanced with support for Native Instruments’ NKS (Native Kontrol Standard®) extended plug-in format for all virtual instrument developers (delivering seamless software connection to the German giant’s cutting-edge KOMPLETE KONTROL S-Series keyboards and MASCHINE hardware for intuitive interaction) — as of October 8…

eDNA EARTH is based around a collection of 1,900-plus basic instruments, mangled into over 1,000 custom presets professionally programmed by the talented team at Spitfire Audio during several months. The proprietary eDNA Engine — a sample-synthesiser powerhouse that can combine two sounds and modulate between them with envelopes, filters, and wobbles per sound, as well as a gate sequencer and a selection of go-to effects — driving those hard-won results is, itself, effectively user-driven by a GUI that’s as easy on the eye as it is easy to use, ultimately allowing for a wide range of genres and cinematic settings. Simply select by sound type — Atmos, Bass, Drones and Scapes, Drums and Percussion, FX, Keys, Leads, Pads and Strings, Sequences and Plucks, or Synthetic Orchestra — and play. Put it this way: with such depth of content — from beautifully refined dynamic crossfades to turbo-charged tempo synced, gated, and phased wonders — readily accessible, anyone playing each carefully crafted sound for only 30 seconds would need 15 hours to listen to each and every instrument and patch available! And that’s before tweaking to make more of their own.

On top of that, the eDNA Engine itself is made up of seven so-called ‘cartridges’ — each curated by a different composer or engineer, each focusing on a distinct sonic style; perfectly positioned presets abound — all arranged by sound type, but users can also browse by cartridge, both from within the eDNA EARTH GUI or directly from Native Instruments’ cutting-edge KOMPLETE KONTROL S-Series keyboards and MASCHINE hardware, thanks to that newly-implemented NKS support... no mouse or trackpads (necessarily) needed! eDNA EARTH cartridges currently comprise: ANALOGUE (digital verses analogue synth battles, made using Spitfire Audio co-founder Christian Henson's hallowed vintage synthesiser collection of Junos, Jupiters, Moogs, and MS20s, creating a whole new world of sonic opportunities); BROKEN (pseudo-organic atmospheres, crossfades, drones, effects, and pads curated by Harnek Mudhar, a Spitfire Audio engineer with his finger firmly on the pulse, successfully spanning the hinterland between organic orchestral material and raw synth sounds — almost like earthly instruments, but slightly warped); CINEMATIC (modern hybrid synths for the big screen, curated by multi-award-winning composer Christian Henson); DARK (series of chaotic, frenzied, dystopian sounds — from searing leads to super-fat basses and atmospheric, eerie pads, suitable for the grittier end of dance music while also adding edge to hybrid blockbuster and trailer work); RETRO (mainstream zeitgeist synths and patterns by resident Spitfire Audio sonic wizard Stanley Gabriel, adding an extra dimension to pop and dance music); TRANCE (EDM classics and next-generation dance, rhythmic synths, and epic drops, taking users on a journey from quirky 8-bit vintage game console sounds through to ambient techno and minimal house); and WARPED (ever-changing soundscapes — hold down a sound and move the modulation wheel very slowly, since such sounds are programmed to morph beyond all recognition via vibrant shimmering paths). As an evidently elated Christian Henson himself says: “So we’ve updated eDNA; the sounds are a lot easier to browse, it’s now NKS-compatible, and I’m actually working on a new cartridge at the moment, which I’m quite excited about — always a joy to work with EARTH!”

Working with the enriched encyclopaedia of cinematic synth sounds that is eDNA EARTH is, indeed, a joyful and musically-enthralling experience, one which benefits from fellow Spitfire Audio co-founder Paul Thomson’s thoughtful consideration as to why, exactly, content that is organic at origin yet sounds synthetic mixes better with live or orchestral elements: “It’s about having depth in the sound, as opposed to a slightly two-dimensional sound. Even though you can get a synth sound that appears to have a depth in the soundstage, there’s something about a sound that’s recorded in a space that has a kind of spacial depth. When Quincy Jones worked on Michael Jackson’s albums, a lot of the synths were played out into the room and then re-amped, basically, in order to get a kind of sonic depth to the sound. So I think that what we’ve done — by starting with a sound that was recorded in a 3D space and then kind of imposing synthetic texture on to it — is retain that depth within the sound.” Wise words there from a sound musical mind. Musically, then, eDNA EARTH has been created with film, TV, and games music in mind, offering endless inspiration to the next generation of media composers, whether wishing to go ‘off world’ — following in the bold footsteps of Greek genius Vangelis, whose inspirational futuristic fusion characterised the timeless score to visionary director Ridley Scott’s 1982 neo-noir science fiction film classic Bladerunner, which, in Christian Henson’s equally wise words, “...was synthetic but approached from an orchestral arrangement POV...” — or keeping their musical feet firmly planted here on earth! Either way, eDNA EARTH should also appeal to dance and pop producers wanting to add cutting-edge, cinematic electronic textures to their music — made even easier by Spitfire Audio coming back to (eDNA) EARTH with an enriched encyclopaedia of cinematic synth sounds! eDNA EARTH can be purchased and digitally downloaded for a time-limited introductory promo price of £99.00 GBP (inc. VAT)/$99.00 USD/ €99.00 EUR (inc. VAT) until October 11, 2018 — rising thereafter to an RRP of £149.00 GBP (inc. VAT)/$149.00 USD/€149.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/edna-earth/

For more in-depth information, including some superb-sounding audio demos, please visit the dedicated eDNA EARTH webpage here:

https://www.spitfireaudio.com/shop/a-z/edna-earth/

Watch Spitfire Audio Director Paul Thomson’s ‘traditional’ video walkthrough of eDNA EARTH here: https://youtu.be/zrIxPpK1gPo

Watch Spitfire Audio ‘composer-in-residence’ Oliver Patrice Weder’s ‘In Action’ video for eDNA EARTH here: https://youtu.be/UrX-8qqGSPQ

Watch fellow Spitfire Audio Directors Christian Henson and Paul Thomson telling the story behind eDNA EARTH here:

https://youtu.be/-Da8OBFFEBY

eDNA EARTH needs Native Instruments’ free KONTAKT PLAYER (5.6.8 or higher) — included in the purchase — to run as a fully NKS (NATIVE KONTROL STANDARD®) supporting plug-in instrument for Mac (OS X 10.10 or later) or Windows (7, 8, or 10 — latest Service Pack, 32/64-bit), while Spitfire Audio’s free Download Manager application allows anyone to buy now and download anytime.