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Please contribute if you know more good stuff and i'll add them here.
by @DarkHorseOrchestra (ideally for glitch/IDM/psybient)
2017-02-23 19:05:26 by SnowTeddy
They certainly did for me and many people.
thanks to @EDM364 for reminding me about this.
Best free synth in the wild. You can do pretty much anything Zebra 2 could.
Man this post gonna be so shill for U-He stuff... but they deserve it!
Everyone's secret weapon!
Can't mention softsynth without demoscene.
I love U-He.
Softsynth for breakfast!
Truly free synth.
Honorable mention, cos why not? I'm a tracker head. The scene FTW!
before SunVox was cool.
Still a fan of Milky better than Fami...
IMO, they did for me. I promise you will not need anything other softsynth VST. You won't believe number 5! Nah this is not a Buzzfeed article...
Serum is absolutely a killer softsynth, probably the only thing that could beat Zebra. You can craft your wavetable from audio files, which what makes it so versatile.
Hans Zimmer uses it! Nuff said.
Endless sound possibility.
Mick Gordon used it in Doom 2016.
My ultimate power.
Softsynth of Mass Destruction
Best but just massive.
Your whole world right here...
Best non-sample SID emulator
Culture jamming lives in us!
Example of détournement in art could be graffiti (King Robbo), culture jamming (Banksy), and in music there are anarcho-pop (Chumbawamba), art punk (No Age), and vaporwave (Macintosh Plus). These are what I call "obviously open détournement", where their satire and sarcasm are obvious.
The not-so-obvious détournement
Where does my music lie in this category? And more importantly, why is my music a form of détournement?
My music always written under some sort of message, not just theme but actual messages that try to speak to listeners. Those who first listen to my stuff will not discover them right away, but over time these messages attached to their mind. When you like my music, meaning you will sooner or later, find them. I always make sure that every time I compose a track, there is symbols and messages delivered in them.
And what does this have anything to do with détournement? Those messages are about anti-comsumerism, anti-capitalism, anti intellectual property, trying to rise social issues or served as a purpose of helping people. They are also pro-piracy and pro free and open music, because the music itself is already and always be free.
Take 2 examples of the latest tracks.
Memory Malfunction is blatanly obvious to mock the idiocy of the loudness war. The track's structure is written to satirically make a point out of mainstream electronic music, for the fight to bleed your eardrums, as GameBalance pointed out in the review.
Freefall is more cryptic. The messages are to mimic the situation of my own poverty with a slight cheerful tone. Hence I used A minor but with light-hearted chord progressions. Also to note this, but I can't help but notice most of the psybient composers came from upper class background. The track is also to jab at this, especially when I put in the description that I'm a "world class hobo composer". I mean it!
Détournement is a form of self expression. The power of an individual to humorously make comedy out of the world around them, but at the same time still able to produce art and music openly.
In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation.
Boredom is always counter-revolutionary. Always.
This is the latest track. I think it is officially the loudest track I ever done. Mixing this shit was crazy.
Have a great time with brutalness!
Disclaimer: This is an honest but biased perspective of mine on 89th Academy Award's (Oscar 2016) original scores. I will also include film score that I believe they should have been nominated.
Moonlight (Nicholas Britell)
This is my own personal bias that I picked to write this first, over any other scores, including La La Land and Lion. I believe simplicity should be done like Moonlight score have reflected on the refreshing view on modern film music.
Moonlight itself is very deep and marvelous in its own way. And Nicholas Britell had shown he could represent the whole movie, from plots to characters, to themes and meanings, all in a single and short piece. It's bold, brave and a blast that shook the conventional Hollywood film scores.
This is definitely the best example of minimalism music have done ever since Philip Glass and Ludovico Einaudi. The transition of slow to fast tempos, and vice versa. The rich strings playing through it out with slow and gentle ambience of woodwinds flying around the piece. It's just so beautiful.
Lion (Dustin O'Halloran & Hauschka)
I am very regretful that I picked Moonlight over Lion. It was the most difficult choice. Both are movingly majestical. Lion score is haunting and represented the plot strongly. It crafted with the tradition of piano and string, that worked so well in this score, and whole movie.
This is a successful and wonderful collaboration between two world's class pianists Dustin O'Halloran and Hauschka. They have given to the world a beautiful and strong score that move your heart through out the movie.
Passengers (Thomas Newman)
Once again, like many of his old scores, Thomas Newman delivered shivery and haunting soundtrack to the world of music. If you love his scores on Shawshank Redemption and The Green Mile, Passengers' score will bring you to a new level.
The genius of Newman's scores for Passengers is they always seemed to be hopeful and spiritual. Yet he always hinted the loneliness, and danger lie ahead of the plot. If you were Thomas Newman's fan, you will recognize many of his key chord progressions and harmonies used to shape this beautiful score.
Jackie (Mica Levi)
If you were looking for the experimental and avant-garde side of this year's Oscar, Mica Levi score for Jackie is an interesting take on Hollywood film music. Exceptional minimalism with a new style that generated the most pristine sound Mica had delivered.
This is the kind of score that will give you chill deep in your spine and powerful material that you will never forget.
La La Land (Justin Hurwitz)
I hate to say this but La La Land's soundtrack is mediocre to my ears (again, bias). For a musical movie it is nice, and production-wise, it's great. However there isn't much stuff there. I had a feeling it will win over other film scores due to Hollywood bias.
The movie scores below that I believed they should have been nominated.
Hell or High Water (Nick Cave & Warren Ellis)
Arrival (Jóhann Jóhannsson)
Hidden Figures (Hans Zimmer, Pharrell Wiliams & Benjamin Wallfisch)
Fences (Marcelo Zarvos)
- Anything with tiny bit of orchestra in it
- Big percussions (imma guilty of it)
- Pseudo-trailer with generic melodies
- Actual trailer with pseudo melodies
- Even a DnB with piano and pad
- According to yourself...
- ... anything you like, could be Cinematic!
Mr. X has this style I wanna try. Ms. Y makes this style I love. Mrs. Z's style is what I want...
Have your own style. Make your own that you can be distinguished and uniquely from other. This does not stop at a single genre, and you should move your creativity beyond limited tunnel vision of genres. Experiment, experiment, experiment! Never stop exploring every possibility. Every different turn is a potential masterpiece. You can borrow ideas from your inspirational and favorite musicians, but turn their styles into something else. Then you are surely never stop progressing toward the talents.
The true talent doesn't come from birth, it comes from your own experience and creativity.