Contests are fun to enter. They tend to push an artist into areas that would usually not be considered, and by entering a contest there is always the very slight possibility of winning a prize of some value. By very slight, I mean being able to predict ahead of time what a panel of judges might be looking for. Putting on a turban and gazing into a crystal ball to glean what other people are going to be thinking weeks from now is very similar.
The music production software company Native Instruments will celebrate their 20th anniversary in October of this year. Isn’t that exciting? Most people have no idea this company even exists, but it is well known among composers for their sampling software Kontakt, which has become the de facto standard for the recording and performance of professional orchestral virtual instruments.
This month we’re taking a look inside the engine, where I will explain my setup and how I go about creating my music. Indeed, the computer software is complex and requires some focus, but I’ll try to make it as simple as possible. Click images for legible enlargements.
In the late 1970’s, video was an exciting experimental medium. Nam June Paik created the famous “TV Bra for Living Sculpture,” a piece where two tiny video screens covered cellist Charlotte Moorman’s breasts and her cello partly covered the rest. Other early video artists include Bruce Nauman, William Wegman and Peter Campus.
Anyone interested in a career in commercial music would do well to read the forum at the website VI-Control on a regular basis. The VI stands for Virtual Instrument, which is usually a sample of something, like a violin or a timpani. A piano. Each day, these sampled sounds are heard in movies, commercials and popular music. VI-Control is where these instruments are discussed and evaluated.