composing
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Auto-composing keyboard creates tunes tailored to your taste
We love listening to our favorite tunes, as they provide a soundtrack to our otherwise dull and silent blogging existence. But, sometimes the lyrical stylings of Jay-Z and glorious jams of Trey Anastasio simply don't meet our musical needs. We need something different, something never before heard by human ears, to get us through the news day. Enter Cornell students Charong Chen and Siyu Zhan, who have constructed an electric keyboard that one ups Yamaha's singing piano by creating and playing its own compositions. Users simply select between two mood modes -- happy or tender -- to determine the tune's tempo, then play a couple notes and the piano sets to sating sonic cravings. There's another mode that allows users to play a melody to "train" the keyboard, which then plays permutations of that melody in an automated jam session. In that training mode, users can play as long as they like to give the keyboard a better idea of what they're into, which allows the algorithm to better tailor its audial output. The hardware making the music happen is comprised of a microcontroller (MCU) with the composing algorithm on board, a numpad for choosing the operational mode, and a 23-key piano that communicates with the MCU through a trio of encoders. The results are impressive, if not quite concert-hall quality. Hear it for yourself in the video after the break.
New Making of Eorzea video sits down with Final Fantasy XIV's composer Uematsu
For many people, Nobuo Uematsu's name is inextricably linked to the Final Fantasy series. And with good cause -- he's one of the people most closely associated with the feel of the series, with several of his compositions having become ubiquitous even within games he didn't score. Having been the sole composer for Final Fantasy XIV, the newest Making of Eorzea video sits down with Uematsu and discusses the experience of composing the full score for the game. While Uematsu estimates it's been about ten years since he was in charge of a full score for a game, there's little argument to be had about his suitability for the job. He discusses both the scope of the project and his experiences in composing such memorable tracks as the theme song -- which, in his own words, was sung by Susan Calloway at his own insistence. See more about the music of Final Fantasy XIV in the video, embedded after the cut.
Ivor Novello awards to recognize music from video games
Get out those SAT skills! The Ivor Novello awards : Grammys :: The SAG awards : Oscars. They're the smarter, more peer-reviewed way for the British Academy of Songwriters, Composers and Authors to reward excellent songwriting and composing. And as the BBC reports, for the first time, it'll be honoring video game music. The bleeps and bloops of your favorite console games are becoming one of just six total categories at the Ivors this May. And it's because they aren't just bleeps and bloops any more. A member of the award committee says that the music in video games has "matured beyond recognition," and that composing music for games pulls some muscles that most composers don't have, like "non-linear and multi-layered composition." No word on the nominees yet, but keep in mind, any game you nominate needs to have at least 1/3 of the composers be British or Irish, according to the Ivor rules. For instance, the music for Flower was great, but unless there's a hidden "O'" in front of Vincent Diamante's last name, you probably won't see it win.
Count The Beats: Interview with a film & TV composer
If you've ever played Gears of War 2 (who hasn't), or watched Desperate Housewives (we know you secretly love Mrs Van De Kamp), then chances are you've heard music composed by Pieter A. Schlosser from PaaxMusic in Los Angeles. Pieter's been in the music business for the last five years working on a whole lot of tunes for film, TV and gaming. From CSI New York to composing in "French" for The Sims 3, he's got a wealth of experience in this field and, must be mentioned, he's an avid reader of TUAW too. When Pieter got in touch with us regarding our 'Count The Beats' series, and sent us the above picture of his studio, suffice to say that the TUAW offices descended into a flurry of excitement (papers flying in the air and everything). What can we say, we love a picture of an inspiring setup. The logical next step was to sit down with Pieter and talk shop. Read on to find out how the complexities of this mighty setup come together, how the iPhone works as a part of the composing journey, a little bit on DAWs, the "dream upgrade" and how to get the job done when all else is failing. A word of warning, there is some serious music tech geekery ahead. If in doubt, just pretend that it all makes sense and slowly nod your head, then move onto the next paragraph. That's what most of us do anyway!
