This 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?
In the mid ’70s Audio-Technica began to explore the world of Live Sound. At first, A-T’s Live Sound microphones targeted performing musicians looking for high quality and great value. We had entered a very competitive market where companies with established product lines ruled. In order to keep up we needed to introduce a truly remarkable product that would stand out in a cluttered field.
Our first steps into the Live Sound fray came in 1978 with the 800 Series microphones, which included the AT801, AT812, AT813, and AT805S. A year later, select products in this line were reconfigured and relaunched as the Artist Series (ATM). This line became the new face of our mic division, delivering a cleaner, crisper sound users really picked up on.
This is the eighth installment in guest blogger Frank Klepacki’s series on music production. Today Frank continues to examine the unique character of video game scoring. If you missed Part 1, you can read it here.
I like to start off with establishing main themes for the primary characters or factions the player will identify with. The intent is that I will revisit those themes/melodies throughout the game’s soundtrack in the different situations the player encounters as that character/faction. If there are cinematic scenes that pop up in between gameplay, these themes can be used in those as well. They form a good foundation to build on.
For over 50 years, Audio-Technica has been contributing to the culture of sound. Our products have been enhancing the audio quality of countless events from The GRAMMYS® to the Super Bowl, with A-T mics playing a pivotal role.
The history of A-T microphones is one of hurdling technological barriers to satisfy and drive customer demand. Our microphones have enhanced entertainment, sports, governance, and many other shared experiences with their high quality, high performance, and great value. All of these attributes spring from the DNA of our Japanese and American roots. Without a doubt, A-T has come a long way since its establishment in 1962 by Hideo Matsushita, the enthusiastic audiophile and businessman who seemingly had his fingers on the pulse of an awakening audio culture.
This 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.
Zombies exist solely in the realm of fiction — or DO they? Audio-Technica thinks it better to be safe than sorry. Surviving in a zombie apocalypse relies on preparedness in every aspect of life — even microphone technique. In this spooky video, Audio-Technica teaches you “How to Mic a Zombie.” Sit back, enjoy, and remember to check under the bed, in the closets and behind the curtains.
This is the sixth installment in guest blogger Frank Klepacki’s series on music production. Today Frank continues to examine how adding analog elements to digital recording can positively affect the result. If you missed Part 1, you can read it here.
After running our mics through tube pre’s, we then look to plugins to help enhance our mix and the analog sound, depending on how far we wish to take it in our respective DAWs.
We’re excited to bring you part two of our interview with the legendary audio engineers, Bruce Danz and Dave “Shirt” Nichols from Summer Sonic 2014. If you missed part one of our interview with Bruce and Shirt, you can read it here.
This 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.
This year at Summer Sonic we got the chance to sit down with legendary sound engineers Bruce Danz and Dave “Shirt” Nichols We love sharing knowledge from industry veterans, so check out part one of our interview with these guys below!