#Percussion Software

[ariyan24]

Toontrack – Superior Drummer 3 Complete Download

Toontrack Superior Drummer 3 Complete is a state-of-the-art virtual drum software that redefines the world of drum production. With unparalleled realism, versatility, and an extensive library of meticulously recorded drum samples, it's an indispensable tool for musicians, producers, and sound engineers.

This comprehensive package offers a wide range of drum sounds, from classic acoustic kits to modern electronic beats, all captured with exceptional detail. Superior Drummer 3 Complete boasts an intuitive user interface that allows for easy drum kit customization and fine-tuning, giving you complete control over every aspect of your drum tracks. Its powerful sound shaping tools and integrated audio-to-MIDI conversion make it a creative powerhouse for crafting drum parts that perfectly complement your music.

Whether you're creating rock, pop, jazz, metal, or any other genre, Superior Drummer 3 Complete's extensive sound library and advanced features will help you achieve studio-quality drum tracks with ease. It's a must-have for anyone looking to elevate their music production to the next level.

[badolmen]

‘oooo printers are so mean and scary’ rip to you but I’m built different. my printer eats oats from my hand. the printer at work lets me print double sided papers without so much as a whinny. don’t get me started on the office copy machine we have a bond you couldn’t comprehend.

[performing-personhood]

The difference between software engineers and hardware engineers?

Donna Noble gets things done

[svnmouth]

the worst part about technology is when the problem you have is unknown to wider internet searches and the problems that sound similar are not actually that similar.

[brevemusicstudios]

7 Best Percussion VSTs for Music Producers (2023)

Best Percussion VSTsToontrack Superior Drummer 3Getgood DrumsXLN Audio Addictive Drums 2Toontrack EZdrummer 2CinePerc (Cinesamples)HZ Percussion (Spitfire Audio)Berlin Percussion (Orchestral Tools) ConclusionAdditional Reading Best Percussion VSTs Looking for the best percussion VSTs? Here are seven of the most popular percussion VSTs that every music producer should consider: Toontrack…

[not-terezi-pyrope]

Currently at an industrial software conference catering heavy industry, mostly mining and energy. The amount of money in display for this extremely frivolous corporate do. You can tell this is where society's productivity is really being funnelled; what our system really cares about.

Massive screens and auditoriums lit up in company colours while the working class budgets. Endless talk about sustainability while half the people in the room make buck from oil processing.

At the start they a group come out on stage covered in paint and do a sort of tribal percussion performance banging on oil drums. Compelling, but it feels sort of perverse, in a way. Not like it wasn't appropriate set dressing, though. The human race does not change; we still have people whooping and drumming in ecstasy at the front of the cave, all that's changed is the size of the fire we're burning. It encompasses the whole planet, now.

[steambot-shenanigans]

I’m making a post about some fanbots I haven’t discussed much on here!

I made them originally so I could have more characters for the spg rp server I was on, but I would like to revisit them sometime.

Basically, they are 3 yellow matter bots created by the direct descendants of Rex Marksley. For the purposes of this, yellow matter represents time. Here’s a lore dump about the three of them!

The first bot to be built, representing the past, is Milo Samuel Marksley (Milo coming for the greek word for speak, and Samuel coming from Samuel Morse). He was invented in 1850 by Roy Marksley, the son of the legendary gunslinger himself, who was inspired by the telegraph. It is a very old bot and is very worn down. They keep getting more rusted and straight up loosing parts.

It was built before voicebox technology, so it can only communicate outwardly through the beeps of morse code. Its younger siblings worry that one day it will get so worm down they will stop working alltogether. Its appearance is very rough, having no mouth, or exterior plating, so their simplistic mechanical insides are on display, aside from a few places. Their clothes are very much outdated, it breaks down frequently, and is generally fairly slow. Despite that, they still manage to keep the peace between its bickering siblings.

Its antenna is centered, coming out of the back of it’s head and going through its top-hat. It is curled at the end and has a small ball at its point. It plays percussion (mostly drums and piano).

In December 1906, a second bot was invented by Roy’s youngest daughter, Ray Marksley, inspired by the existence of the radio. Named Echo Reginald Marksley, this bot has stayed in much the same condition as when he was first built. (Echo comes from the greek word for sound, and Reginald comes from the first name of the violinist who played the first song to be broadcast on the radio- O Holy Night).

He doesn’t upgrade well, as his chassis will accept nothing but identical parts and his systems reject any software updates, much to his dismay. He hasn’t gotten any new malfunctions and is a pretty durable and consistent bot. He is most at home making radio broadcasts, as he knows his best feature is his voice. It’s low, velvety and melodious, despite the slight staticky quality that worsens when he is feeling strong emotions. He tends to act confident, composed, and a bit flirtatious, which is how he naturally is on the radio, but is less natural and more facade when talking to people face to face. The biggest hit to his confidence is his physical appearance, as his inventor, Ray, cared more for function than form. So while he was painstakingly programmed with intellect, creativity, great memory storage, and an extensive vocabulary, and the best voice possible for his purpose as a radio bot, his exterior was not afforded the same care. His body is fine when covered in clothing (which it almost always is), but his face is harder to hide. It’s asymmetrical, and the features are not quite right, looking almost more like a radio than a human face in such a way that puts him squarely in the uncanny valley. He once had a listener who fell in love with him because of his voice, and then quickly fell out of love and ran away when he saw the bot’s face.

Because he is quicker and more charismatic than his older sibling, and more experienced than his younger sister, He generally considers himself the leader of the siblings, both in taking care of them, and in matters of the band they are in. His younger sister takes issue with this. If you think he’s abnormally flirtatious normally, you should see how mushy he gets when he genuinely falls in love with someone! Echo has one antenna above his left audio receptor (which really looks nothing like an ear). It can fold down across his head, or retract and extend as needed to broadcast radio signals remarkably far considering he’s not as tall as a broadcast tower. He does occasionally climb things to get better signal if he’s trying to communicate with someone far away.

In 1941, Ray’s eldest and only daughter Rue Marksley goes on to complete the trio with Cathode Ray Marksley. (Cathode comes from the cathode ray tubes original tvs were built with and Ray was her grandmother’s name).

Cathode, or Cathy as everyone calls her is inspired by a tv, and as such has one for a head, her screen almost always showing her pretty face. Rue had wanted to make Cathy since 1930 when she was a little girl and found out about TVs, but due to not being old enough, and the Great Depression, it had to wait. When first built, people didn’t understand why Rue would build a feminine robot, and so Cathy presented as male for a while, about until the early 2000s. Cathy is stylish and modern, always getting their current caretaker to upgrade her with the latest things, whether its color television, more modern displays, more pixels, or a flatter screen. Beyond her chassis, she also cares about the clothes she wears. Though her siblings usually always wear the same thing every day, Cathy is constantly changing her style based on what’s trendy, and she is not stopped by what gender clothes are associated with.

Being the youngest and being spoiled with upgrades and shopping trips has caused her to be a bit bratty and prideful, but she still cares for her siblings even though she can’t go a day without getting into squabbles with Echo. She’s quite flirtatious and even if she complains a lot, she will still get the job done if it’s something that needs doing or is for a friend. She plays electric guitar, rhythm guitar, saxophone, and trumpet. Her antennae are two classic bunny-ear tv antennae that she kept around despite her upgrades so she could still transmit and receive radio signals from her siblings.

The Marksley bots have a radio/video show together of playing music, a combination of old and new, covers and original songs. They mostly live off their family’s fortune, as they aren’t incredibly well known, and they’re not affiliated with the Marksley Weapons Company (though they could be if they wanted to).

Also in case you were wondering, Cathy is a lesbian, Echo is bi, polyamorous and asexual, and Milo is aroace and agender

[elliespectacular]

Hey there! I know you're probably very tired of talking about Sammich on Parole by now but I was wondering whether you happened to know if there was ever an extended version of the dubstep section, whether fan made or created by yourself

The dubstep-sounding track (where Valjean is wobbling and the colors change) was unfortunately made by someone who was later credibly accused of being a child predator, so while technically there is an extended version of it that exists I will never promote it. That's also why the music is replaced in the reanimated version.

The part where Javert and Valjean sing over some beats was made by me using default FL Studio percussion. Very quick-and-dirty and anybody familiar with the software can tell it was a practically-no-effort mix. Same with the reanimated version, though slightly more sophisticated since I've learned a couple things over the past decade! I didn't make an extended version and I don't plan to. I'm not aware of any fan-made ones either, but ultimately it's just Look Down quantized and played over some stock beats so someone could easily make it if they wanted.

[randomvarious]

Next Evidence - “Dune” Stockholm Mix Sessions 2 by Jesper Dahlbäck Song released in 1999. Mix released in 2000. Deep House

It’s kinda strange how you can’t find a proper bio about this French deep house duo anywhere. You’d think that when an enormous major label like Capitol/EMI puts out someone’s album, it’d help to generate some kind of fanfare for the artist, but it doesn’t really appear to have done so in the case of Next Evidence; at least not to the point where some professional music writer publishes a few sentences online about what the duo does and where they’re from. All we really have to go on here is a poorly written, unverified thing from some last.fm user. Crazy.

But allow me to piece together a narrative here that differs slightly from that last.fm entry. Next Evidence was made up of Maxime Cohen and Michael Tordjman. In ‘97, while they were both in their mid-20s, the pair put out their debut record, and in '98, they started their own small record label, Basic Recordings, which ended up releasing material from a handful of house talents, including Julien Jabre and Dennis Ferrer.

The following year, with five releases solidly under their belt as a duo, Next Evidence put out an EP called Sands on the Paris-based Versatile Records. And it’s on that little EP that you’ll find a deep house banger of theirs called “Dune.”

Now, what appears to have sonically set Next Evidence apart from most of their fellow deep house peers is that they had a special affinity for African percussion. While most deep house makers were just using standard drum machines or software to construct their backbeats, these guys were on some different shit, making sure that just the basest parts of their own productions were unique enough to catch and then captivate one’s ear. And that approach, when it comes to just the music itself, will definitely give you a leg up on your competition, because at jump, when all you’ve really introduced is your drums, you’re already putting out something that doesn’t sound like most of what else is out there, and your tune’s barely even gotten started yet! And that’s not to say that others weren’t also using African percussion in their deep house at the time, but it definitely wasn’t nearly as commonplace as other methods of crafting a backbeat.

So, next, you add some space-dubby synth-work to the track, and then by making some slight alterations here and there, you can just coast on that combo for as long as you’d like and you’ll still have a mighty fine track, right? Well, yeah, you could do that, but Next Evidence had other ideas, because just as you really start to sink yourself into this groove for the long haul, they decide to unexpectedly seep in some fantastically sex-wet jazz sax, courtesy of some French dude named Denis Guivarc'h, who’d apparently been lending his talents to records for years before this one and still does to this day. He’s doesn’t appear to have ever released anything on his own, but you can hear his exploits on a sizeable chunk of releases that have been coming out since the early 90s.

And then after Guivarc'h finishes his part, a new top layer of percussion suddenly arrives, courtesy of a guy named Nicolas Krassilchik, who provides an awesome solo on timbales, further enhancing this experience even more. According to Discogs, this was only Krassilchik’s second-ever appearance on wax, but it sure as shit doesn’t sound like it, because his contribution here is simply electric. And Krassilchik is another guy who’s never released anything on his own either, although he was a member of a group called 26 Pinel, who ended up putting out a couple albums in the mid-2000s.

This fully-packed track is amazing. Like, I would’ve totally dug it if it was just only made up of those drums and synths; it was that good already. But then Cohen and Tordjman decide to bring in those back-to-back sax and timbales solos, and the song just ascends to another plane 😌. 

What a superb tune from this duo who you can barely find anything about online, even though they’ve had a major label album release!

[thornsofthefuture]

an interview with witchita — a talk about underground music, anxiety and corruption

today's thorns of the future guest is witchita, once an electronic/witch house artist, now a latin urbano artist from mexico. witchita has been in the scene since 2019, when he released his first ever EP called "untitled" through distrokid. the songs from the EP could be described as energetic, with a dose of experimentality.

[this interview includes strong language and possibly triggering content. viewer discretion is advised.]

thorns of the future: what was the first song you've ever made?

witchita: Witchita from my first EP, named "Untitled" I wanted it to sound like "Baptism" by Crystal Castles, obviously it doesn't resemble that song that much due to lack of expertise at that point, but I do like that the first song I ever produced did ended up in a official release of mine, brings a lot of memories and transports me to that time when I first started learning Ableton, and what's mixing/mastering.

thorns of the future: what are some artists that you really like?

witchita: Crystal Castles, Skrillex, Playboy Carti, Yung Lean, Noisia, Dillom, Snow Strippers, 100 gecs, are like some "big names" I tend to always listen to underground and local projects to know what's really happening in the scenes I'm interested. As a fun fact, the last album I've recently listened is "1" by "estratosfera" from Argentina, I've also recently listened to a band called "Garbage People" they're like "garage rock?" sounded cool too.

thorns of the future: tell us about your craziest live show experience.

witchita: I had a show in Villahermosa, in my home state "Tabasco" in mid 2023, that was one of the first time, playing a couple of new songs, and the response to them from the audience was amazing, I saw everybody connecting and enjoying themselves, at least this was crazy for me, and also hearing the feedback from them at the end was super uplifting, I know this isn't very "crazy" lol but it was for me.

thorns of the future: do you have any new planned releases?

witchita: Yes, there's three songs for upcoming releases, one is called "Olas de un ayer" produced by a friend called Rodrigo, that's a "nostalgic" song about my teenage years. I have another one at the moment called "Por Dentro" produced by Trillfox, that's resembles my anxiety and dumb ways to deal with it. The third one, doesn't have a name yet, but it's a "hoodtrap", that's more on some gansta shit, produced by me, and co produced by razorz.

thorns of the future: tell us about the riskiest or the dumbest thing you've ever done.

witchita: Trusting the wrong people back in 2018 led me to being in a vulnerable situation, caused me to not have any money for basic needs, damaged relationships with friends and family, not having a stable living situation, I had to crash friends couches, all of this while I was student, luckily enough I hustled enough to get out of that situation with call center jobs and side businesses and I'm okay since late 2020, shit was awful. When I released "untitled" in 2019 I thought I was going to die any day.

thorns of the future: if you could resolve one major problem on earth, what would it be?

witchita: War. I'm in awe that we're getting a genocide basically being streamed in front of our eyes, and no one's doing shit to stop it. I'm as dumb as the next guy about these topics, but I think bombing children is just wrong and evil. Although I don't think this will ever be resolved, we will see wars until the sun explodes.

thorns of the future: what's your favourite song that you produced?

witchita: HUMX, my latest single at the moment, it's a very simple beat that combines those Witch House elements with a Jersey and urban percussions. I've gotten feedback from listeners that this one's their favourite song of mine.

thorns of the future: what software do you use to make your music?

witchita: Ableton and I will never leave it, great for producing, great for playing live, my favourite producers use it, but to each it's own, FL Studio, Logic, even if you only have Bandlab, you can make great music, the goal is to have the purpose to create.

thorns of the future: what's the artist you'd love to collaborate with?

witchita: Like, DREAM collab, shit, Skrillex, 100gecs, besides that, I'm really almost open to collaborate with any artist that it's "outside" the box, that might have some cool or fresh sounds going on.

thorns of the future: what's the artist you'd never like to collaborate with?

witchita: I wouldn't like to collaborate with artists that don't want try to make things a bit differently or that their shit doesn't sound authentic, type beat type of crowd, that make songs like is a recipe, like making 2001's pop punk exactly as it sounded in effing 2001.

thorns of the future: how did you come up with the name for your project?

witchita: The project used to be under the name "Cry Horror" but I started to feel less identified overtime with that name, razorz (aka EPILEPTICS) suggested me to use the name of my first track for the new project name when I started really getting into more urban and hyperpop influence, he also pushed me to really dive in, into producing these type of genres more.

thorns of the future: what is your song "V" about?

witchita: V is a song about how we're all corrupted, it's in our nature, that you shouldn't trust your governments and police.

thorns of the future: tell us about your hobbies.

witchita: I'm always listening to music, or try to educate myself more about the craft, I don't consider it a hobby, but a passion though. I really enjoy watching films, I wish I could draw better, since I believe is a great way to express youself artistically, I really like cooking as well.

thorns of the future: what's your biggest regret?

witchita: I wish I started taking this music shit more seriosuly earlier, when I was young there was a lot of scammy producers that didn't even finished your songs, or delivered super late. I wish I could started recroding and producing myself since I was a teen. I did write songs there but they're lost in my mind or in some lazy ass's PC.

thorns of the future: tell us about your biggest wish when it comes to your music.

witchita: I hope to drop music until I pass, my biggest wish is to keep trying to innovate, to make better songs and to my music to find it's audience, so it can fulfill it's purpose.

we would like to thank witchita for answering all of our questions. we really appreciate you. that's all for now.

images & videos: witchita

spotify:

https://open.spotify.com/artist/4EEA2IvXRTLbllO4FvM0sX

instagram:

https://www.instagram.com/witchitamusic/

hyperfollow:

https://distrokid.com/hyperfollow/witchita

peace.

[rachaelmayo]

This was a tour de force from 2012 that features several of my DeviantArt friends' Predator characters. It was a trade with the owner of the character placed in the middle, and the harp-like instrument was what she requested that her character play. The rest of the characters got whatever was floating through my head at the time, with a little basic input from the owners.

My character Chaunn is on the left with the toothy wind instrument. Her dad, Khan'nai, plays something like a mandolin. The trio on percussion are three boys with whom I'd worked on a couple of different art trades apiece, so I knew their characters pretty well (and yes, the drums, tambourine, and maracas fit their personalities). The lady on the lower right was a hard call, but said she wanted a horn of some kind. The less colorful players in the background are just fill-in characters.

The fuzzy beast sitting at the central character's feet is from my own headcanon. It's called a pfaukal, and yes, the similarity to a certain Yautja swear-word is deliberate. It's something like cockatoo software running on housecat hardware.

This is a fairly large image at about about 15x20 inches. I used Prismacolor pencils over an ink drawing and watercolor wash. I think it's one of my better efforts, and I'm still proud of it more than ten years later.

[ariyan24]

XLN Audio Addictive Trigger Download

XLN Audio Addictive Trigger is a cutting-edge drum replacement software that revolutionizes the way you manipulate drum sounds. With its intuitive interface and advanced algorithms, Addictive Trigger allows you to seamlessly replace or augment poorly recorded or inconsistent drum tracks, achieving professional-grade results. The software employs Audio Fingerprint technology, analyzing each drum hit to accurately detect its sound characteristics and match it with a vast library of high-quality drum samples.

By downloading XLN Audio Addictive Trigger, you gain access to a wide array of preloaded drum samples, meticulously recorded to cover various musical genres and styles. You can also import your own samples for a personalized touch. The customizable and precise detection settings enable you to tailor the triggering to your specific needs, ensuring a natural and authentic sound. Whether you're a music producer, engineer, or drummer seeking to enhance drum recordings, Addictive Trigger offers a powerful and time-saving solution that significantly elevates your drum production workflow.

[thumpypuppy]

how do you usually come up with melodies n stuff? also what program did you use to make the isat soundtrack? :-)

Oh my gosh our first ask!

I (Lindar) have a few different ways I do it.

The title theme was originally written on a Teenage Engineering Pocket Operator PO-28. Just a stroke of inspiration, I guess? Sometimes it helps to sit down with an instrument and see what works, and different instruments lend themselves to different ways of thinking about music and melody, so I try to switch it up a lot.

Another way I tend to do it is to find an interesting chord progression and then let the melody emerge from that pattern, which can be a little frustrating sometimes, but has yielded some interesting results. Honestly I've been writing music for over two decades, and the process can be a bit arcane at times having amassed a whole host of different techniques over the years, but the years of experience is not required to make something good and catchy. At the end of the day I think my favorite way to test the viability of a piece of music as game audio is to play it for someone and then see if they start humming it to themself some time later. Hummable music means it's catchy, and that's what you're after, isn't it?

As for working with my other musicians, here are some things I've observed:

Alice is very methodical in her approach. She sits down at her DX7 with her headphones on and will try things and then iterate upon them until she is satisfied, and then will write everything in a sheet music notation software and send me a midi file when she's done. She's a classically trained violinist, comes from a family of jazz musicians, and is a big fan of progressive rock, so a lot of that influences the way she approaches music.

Sadie is also a jazz musician and former orchestra performer, she went to school for it, and honestly it can be incredible to watch her work, because she will simply pick up any instrument and immediately improvise something catchy. She's had several bands, she's been composing for years, and it can be magical watching her work. (She is currently in a band called Dirty Twenties, and you can find her solo work as "Sadie Greyduck" on most streaming platforms.)

Sandra… well Sandra likes punk rock and metal. She has done some of her own work, and we definitely have a similar approach to writing music, but she can be very scattershot in her approach. Primarily she does percussion for the studio, but her constant leaning over my shoulder definitely influences things, and she's the voice of reason when I have the tendency to over-compose.

As far as software is concerned, the studio runs Ableton Live with a host of VSTs that craft the sound we have, and a handful of live instruments as well. Some of the more notable things you've heard in "In Stars and Time" have been Native Instruments MASSIVE, Spitfire Audio Albion ONE, Toontrack Superior Drummer 2 (with the Metal Foundry pack), and our Ibanez 8-string guitar. If you're interested in all of the gear and plugins we have I'd be happy to do a separate post with a rundown of everything.

Thank you so much for sending us our first ask! I hope that answers your question! 😅👍💙

[lisahiltonmusic]

Q. & A. with Lisa Hilton on album Lucky All Along – Out 11/29/24

With Lisa Hilton / piano,  Igmar Thomas / trumpet,  Rudy Royston / drums & percussion,  Luques Curtis / bass

Q. Congratulations on your thirtieth album Lucky All Along!  Or perhaps should I be saying: “Happy 30th Birthday?”

Lisa Hilton: I like that – it has a nice ring to it!  I’ve created twenty-eight albums in the U.S. and two in Asia, so I’m at thirty now, and somehow it just keeps getting more fun every year with every recording!

Q. Why do you think that is? 

LH: As a composer, ideas flow much more quickly now that I have two hundred compositions, and it’s easier for me to get them written down too. In the past it was hard and time consuming for me to notate music scores. After I taught myself Sibelius, the notation software I use, it was still slow going for a while to notate, but nowadays I write music easily. 

Q. That makes sense, and of course, you know your bandmates better too…

LH: It does feel like we are able to do more things musically now. We had a terrific time touring together in March 2024, and with familiarity everyone has become more intuitive, which leads to more freedom in our playing. Now we actively work to create spots for everyone to stand out. Luques Curtis has strong, almost boisterous bass performances on this album. Igmar Thomas knocks me out with his virtuosity on trumpet, and drummer Rudy Royston’s creativity always surprises me. I love how everyone sounds – I hear so much beauty, hope, joy, passion, mastery and life in this music – it really touches me and we hope others feel that way too. 

Q. Where did you record?

LH: This time we worked at East West Studios in Hollywood. I’m very conscientious about sound, so I’ve recorded at numerous top studios. By far, East West was the coolest studio I’ve ever been in!  I think the vibe there boosted our moods and creativity!

Q. How long does it take for you to record an album?

LH: We record in just one day: it takes about six hours plus set up time and breaks.  It’s a full day. 

Q. You must work pretty quickly!

LH: I like the music to feel fresh and authentic, not “perfect”. We discuss the ideas in the piece, record three takes, then move on. 

Q. I noticed a lot of variety in song choices – your tunes alongside Miles Davis, Taylor Swift and Charlie Puth for example.

LH: Yep; whether you’re jazz curious or a straight ahead fan, there’s something for you on this album. I think most people enjoy genre-free listens these days for work, entertaining or to relax. We’ve got jazz, blues and Latin vibes with a sprinkle of pop, bop, country and gospel, and the band switches gears with agility throughout. Lots of upbeat rhythms and memorable melodies too. 

Q. Do you have any favorite tunes on the Lucky All Along?

LH: I love them all! They touch you in so many ways, so listening to the full album feels like a journey. My fav might be And Some Blues…it has a pretty celebratory vibe to it. A couple people working at the studio said they liked Little Beach Mornings best. I could listen to All Blues over and over and over! Escapist Fantasy and Starry, Starry Eyes are very melodic and Latiny tunes that I really like. Lucky All Along is a bit countrified and unique, while Big Sur Views has a meditative quality. Prophesies & Predictions has lots of ideas – be sure to listen to that one through to the end. Hollywood Moment  is also a favorite for me – it reminds me of pianist Bill Evans a bit. Both See You Again and Snow on the Beach are terrific compositions I’m glad we recorded. 

Q. Tell us a bit more about those last two cover songs you just mentioned?

LH: Lots of jazz artists arrange tunes by the Beatles or Stevie Wonder, but I think jazz should reflect today and feature great composers of this generation. While he was still at Berklee College of Music, singer/songwriter/producer Charlie Puth opened up for me at a show I had in Boston. Even then, his skills, talent, and personality impressed me. After graduation, Charlie co-wrote a song about the loss of his friend in a motorcycle accident, which he expressed in a very touching way in the tune See You Again. 

   Snow On The Beach was written by Taylor Swift, Lana Del Rey and Jack Antonoff for Taylor’s Midnights album in 2022. Although this is considered a pop song, I hear a touch of the great American composer Robert Johnson in this evocative composition. It is an extremely well written and beautiful song, and I love the very subtle improvisations from the bass and drums on this track. Snow on a beach is rare, so we finished a joyful album with the idea that every moment is rare and should be cherished. 

For more information: LisaHiltonMusic.com  Follow Lisa Hilton Music on all socials. Listen on jazz radio or any streaming service. 

[experimentik]

Experimentik #77 / 18.Sep.2024 / chirp crush / Kristina Warren

18. September 2024 / 20:30- (doors 20:00) *no entry during sets

duo: chirp crush Verena Barié - recorders, electronics Sjoerd Leijten - electric guitar, electronics

solo: Kristina Warren - electronics

FB event ---------------------------------

Das Konzert ist Teil des Monats der zeitgenössischen Musik Berlin der initiative neue musik e.V. / field notes berlin

title photo © Seiji Morimoto

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Das Ensemble chirp.crush - Verena Barié und Sjoerd Leijten - traf sich 2017 in Amsterdam (NL) und kreiert seitdem Klanglandschaften und experimentelle Narrative.

Ausgehend vom Atem als Tonerzeuger gestaltet chirp.crush - zusammen mit Markus Hennes/Stimme - abstrakte Narrative durch vielschichtige elektronische Prozesse und elektronisches Instrumentarium. chirp.crush verstehen sich als Grenzgänger zwischen experimentellem Hörspiel, Radio- und Klangkunst. Das Ensemble wurden durch zwei FEB-Ensemble Stipendien (2021 & 2022) des Musikfonds e.V. gefördert, sowie von der Kunststiftung NRW und dem NRW KULTUR-sekretariat im Rahmen von Aufführungen in LTS4 im Lichtturm Solingen.

Verena Barié (*1994) ist eine weltweit agierende Blockflötistin, Medienkünstlerin, Komponistin und Kuratorin. Nach einem klassischen Bachelorstudium mit Hauptfach Blockflöte absolvierte sie das Masterprogramm Live Electronics des Conservatorium van Amsterdam. Die Blockflöte hat Barié schon früh an die Schnittstellen von Musik, Neuen Medien und Performance-Kunst geführt. Seit Oktober 2019 lebt sie in Köln und ist als Co-Kuratorin am LTK4 – Klangbasierte Künste Köln tätig. Seit 2021 arbeitet Sie im Vorstand der Kölner Gesellschaft für Neue Musik e.V. und gestaltet das kulturelle Leben der Kölner Freien Szene durch musikalisch-künstlerische Veranstaltungen sowie kulturpolitisches Engagement mit. Mit ihrem Projektraum LTS4 in Solingen kreiert sie dialektische Projektreihen mit Medienkunst. Barié ist neben ihrer Solo-Tätigkeit u.a. seit 2017 im Renaissance Doppel-Sextett THE ROYAL WIND MUSIC (NL) und seit 2020 im klangkünstlerischen 1. DEUTSCHEN STROMORCHESTER (DE) zu hören.

Sjoerd Leijten (*1982) ist ein transdisziplinärer Künstler, Komponist und Radiomacher mit einem ausgeprägten Interesse an dissidenten Klängen und Politik. Er arbeitet häufig mit Elektromagnetismus, field recordings, noise, Echtzeitverarbeitung und Open-Source-Software und -Hardware. Seine Werke umfassen Performances, Konzerte, DIY-Instrumente, Installationen, Veröffentlichungen, Filme und Audio. Seine Musik für Kino und Videospiele wurde mehrfach ausgezeichnet. Sjoerd lebt in Antwerpen (BE) und ist Mitinitiator des von Künstler*innen geführten Veranstaltungsortes TOITOIDROME, situiert in Borgerhout. Beim lokalen Untergrundradiosender RADIO CENTRAAL 106.7 FM moderiert er die zweiwöchentliche Radiosendung TRASHKOT zusammen mit dem Künstler JO CAIMO: „Ein ranziges Gewebe aus Geräuschen, Gesprächen und Müll bildet eine wackelige Brücke zwischen Musik und Politik.”

https://www.instagram.com/chirp.crush/

photo © Vesna Faassen

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Kristina Warren (US, 1989) is a Providence-based sound artist whose live performances offer listeners a gentle, restorative environment. Slow analog cycles combine with detailed field grains and room-specific resonance, interweaving the fringes of attention with warm, present volumes. In Spring 2023, Warren was in residence at Vienna’s [AT] MuseumsQuartier/Q21, collaborating with TONSPUR Kunstverein Wien to present a new sound installation, Lavender Lauds, supported by the Fulbright Commission [US]. Warren’s work has previously received support from Interfaces/European University Cyprus, EMS Stockholm, Spektrum (Berlin), Signal Culture (New York/Colorado), the American Composers Forum, and Non-Event (Boston). Warren has collaborated with ensembles including Chartreuse, JACK Quartet, So Percussion, Talea, Yarn/ Wire, and the Merseyside Improvisers Orchestra. Also active as an organizer of new music performances, Warren was the 2022 Artist/Curator-in-Residence at Providence venue The Music Mansion. Recently a Visiting Assistant Professor of Electronic Music & Multimedia (Brown University, 2017-21), Warren holds a PhD in Composition & Computer Technologies (Uni. Virginia, 2017).

photo © James Lastowski

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Experimentik 2024  is supported by inm - initiative neue musik berlin / field notes

[emilyhopebunny]

I'm transferring codename canticum antiquum to Dorico, mainly because from what I've seen of Dorico so far, it does seem to be the better software for preparing parts, which I may need to do soon (though I still haven't heard anything on whether it will be performed this year).

Probably the biggest reason Dorico is better for making parts is because it has been integrating parts into the same file as the score for as long as it's been around. Finale only started doing this in the mid 2000s (I wanna say 2005 or 2006?), when I was in college. I remember before that, you had to export all the parts from the score into their own separate files, and edit each one separately to look presentable, and any change you made to the score after that meant you had to re-export and re-edit all the parts. So I remember being very excited about linked parts when they were introduced. But the whole process is still a bit ungainly, and I can't say I was looking forward to it.

So I'm trying it out in Dorico. I was able to import my Finale score as a music xml file, which worked quite well actually. The percussion parts got messed up, but I know that's mainly because the way I wrote them in Finale was kind of messy, and I kind of wanted a chance to redo them anyway. But I'll get to that later. For right now, I'm separating the woodwinds and brass into separate staves for each player. That's how things are done in Dorico, from what I understand. And then later in the process, you condense it down to the standard score format with 2-3 players on a staff, while maintaining separate parts for each player, and Dorico should automatically generate the labels for who's playing when.

That's what I'm getting used to. There's a lot of things in Dorico that happen automatically or are controlled by broad universal settings, where in Finale you control a lot more of the minutiae of notation yourself. I've gotten very particular about how I like things to look in a score, so ceding control of these details to software algorithms is a bit scary. And when I find something doesn't look how I want it, I have to get used to thinking of what setting I need to tweak instead of how to change this detail directly.

All of this will take some getting used to, but I am coming to like Dorico and its whole notation philosophy, even though it's very different from Finale.