Category Archives: Commentary & Editorial

Frank Klepacki Blog Series: Breaking Your Fear, Finding Your Voice: Part 1

Frank KlepackiThis is the tenth installment in guest blogger Frank Klepacki’s series on music production. Today Frank talks about how to break through fear and find your voice. If you missed Frank’s previous post on electronic dance music, you can read it here.

Early in my career, I realized even though I can compose and produce music, I didn’t sing, and was afraid to try.  Being in bands and recording in the studio, if something was ever vocally off, my ear would catch it, but I wouldn’t be able to sing it to offer another suggestion or correction.  I needed to find to way to break this fear.

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Frank Klepacki Blog Series: The Interesting Thing About EDM

Frank KlepackiThis is the ninth installment in guest blogger Frank Klepacki’s series on music production. Today Frank explores the possibilities of electronic dance music. If you missed Frank’s previous post on video game scoring, you can read it here.

The Electronic Dance Music genre has gained popularity over the last few years to the point that it has crossed over into pop, and there have been festivals dedicated to it and created a number of lucrative DJing opportunities for the artists. When I first took notice of it, I asked myself what is the big deal? Why is this a thing now?

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Frank Klepacki Blog Series: Creating Musical Scores – Video Games Present Different Challenges Than Film and TV, Part 1

Frank KlepackiThis is the seventh installment in guest blogger Frank Klepacki’s series on music production. Today Frank looks at how scoring for video games differs from scoring for film and TV. If you missed Frank’s previous post on incorporating analog elements into the digital studio, you can read it here.

The Video Game industry is big business, and the quality of the medium offers all kinds of different and fun experiences for the casual or hardcore gamer. Gaming is but another entertainment choice, competing with music, movies and television, and it appeals to all different ages.

As a composer, it’s important to know what the differences are in the approach to scoring a video game from scoring for the other forms of media.

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Frank Klepacki Blog Series: Getting the Best of Both Worlds: Digital with Analog, Part 1

Frank KlepackiThis is the fifth installment in guest blogger Frank Klepacki’s series on music production. Today Frank discusses adding analog aspects to digital recording. If you missed Frank’s previous post on the role of the music producer, you can read it here.

For a great while now, people have been making music digitally. Whether they transitioned over from analog, or started digitally from the get-go, it’s a reality, a convenience and, moving forward, will be the norm of how music production is introduced to future generations.

While today’s up-and-comers making albums in their bedrooms and garages may never know what it means to cut tape or use a large format console, there are some ideas worth sharing to help and encourage their decision-making when recording in the future.

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Frank Klepacki Blog Series: What It Means To Be a Producer, Part 2

Frank KlepackiThis is the fourth installment in guest blogger Frank Klepacki’s series on music production. Today Frank continues to discuss the role of the music producer. If you missed Part 1, you can read it here.

When a project is coming together, and principal tracking is basically there, a producer’s ear can really benefit the artist. At this point the artist has done their part and performed the songs the way they wrote them and the way they naturally sound performing them. What magic happens after that?

 

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Frank Klepacki Blog Series: What It Means To Be a Producer, Part 1

Frank KlepackiThis is the third installment in guest blogger Frank Klepacki’s series on music production. Today Frank examines the role of the music producer. If you missed his previous post on the evolution of video game music technology, you can read it here.

When you hear that someone “produced” an album for an artist, what exactly does that mean? It depends on why the producer was chosen by the artist or label, or why the producer chose to take on the project.

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Frank Klepacki Blog Series: Music Technology Evolution in Video Games, Part 2

This is the second installment in guest blogger Frank Klepacki’s series on music production. Today Frank continues his discussion of the evolution of game music technology. If you missed Part 1, you can read it here.

Frank KlepackiRapid improvements over the years of new sound cards and more powerful computers shifted the focus to software mixing over hardware mixing – ASIO eventually becoming a new standard. Just as we were getting used to the idea of resampled WAV files for music playback in games, the MP3 format came along and changed everything.

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Frank Klepacki Blog Series: Music Technology Evolution in Video Games, Part 1

This is the first installment in guest blogger Frank Klepacki’s series on music production. Today Frank looks at how evolving technology affected the development of video game music.

Frank Klepacki For the longest time, video game music had a bit of a stigma associated with it – “It’s all a bunch of bleeps and blips.” While the early days of video games – the era of the Atari 2600 – certainly represented that, people fail to realize that games outgrew that more quickly than they think.

In the mid-’80s heyday of arcades, and the release of the Nintendo Entertainment System, the music was using basic FM synthesis such as square waves and saw waves to play back a minimal 4 monophonic channels of music. Even with those limitations, though, some of the games’ music was still very cleverly composed, and remains memorable even today. The “Super Mario Brothers” themes are a prime example of this.

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