Some years ago, when Logic stopped supporting Windows users, I decided to go for the Tracktion digital audio workstation software. After the software had been acquired by Mackie, updates started to become a rarity and after a while, there was no communication at all about the software by Mackie at all. It seemed to become abandonware but I kept using it, because it works fast and somehow stimulates a creative workflow as you’re not continuously changing screens and the routing flexibilities. Now after almost six years (!) of silence, the initiators have parted from Mackie, formed a new company and surprised me with the release of version 4. Just in time, as I was just about to consider a switch to Reaper…now let’s see if Tracktion can catch up with the other software out there!
Archive for sander
In this short sneak peek video, Jesse James Allen explains three basic technical models for incorporating adaptive music in games: trigger path (also horizontal resequencing), vertical mix (also vertical reorchestration) and runtime remix (a fresh term). Nice to know how it’s done at EA.
[Thanks at DutchGameMusic for the pointer]
For your information, a job offer in NL for Sound Design for Games. More below the line…in Dutch!
Just a quick pointer about a special opportunity for those living in The Netherlands: the two acclaimed composers Austin Wintory (Journey and flOw) and Tomáš Dvořák (Machinarium) will present at the Dutch Indie Game Conference Indievelopment (25 April 2013).
Tickets are €10 (incl. lunch) and the event will take place during the Festival of Games at De Overkant, Amsterdam.
For more, visit http://www.indievelopment.nl/
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I found some theory about interactive, adaptive, nonlinear game music that hasn’t been posted on Captivating Sound yet. It’s an oldie from 2011 by Than van Nispen tot Pannerden, Sander Huiberts, Sebastiaan Donders and Stan Koch.
Interactive music, in e.g. video games, often tends to be complex both in the creative and the technological part. Video games, that have any interactivity connected to the music, often have simplistic music and music technology. The sounding results vary greatly in quality, both in musical aesthetics and in interactive meaningfulness.
One of the interactive music strategies available is horizontal re-sequencing. In this paper experiences with a simple nonlinear music player (the nln-player), using this strategy, are being presented.
van Nispen tot Pannerden, T., Huiberts, S., Donders, S., & Koch, S. 2011, The nln-player: A system for nonlinear music in games. Paper presented at Proceedings of the International Computer Music Conference 2011, University of Huddersfield, England.
Gluddle is nominated for best Dutch game 2012. Please help us and vote here: http://lnkd.in/biEHEs (scroll down to Het stemformulier – enter an email address at e-mailadres – select Gluddle – and press submit). Thanks a million!
I just returned from the Vietjam! Game Jam – a game jam event we organised! We were on the Vietnam national television. Thanks everyone, it was so great!
Dutch Senior lecturers Sander Huiberts and Richard van Tol from the Utrecht School of the Arts, the Netherlands will work with a group of students of FPT-Arena Ho Chi Minh City from November 5-9 and FPT-Arena Hanoi from November 12-16 in a Game Design Boot Camp. Part of this Boot Camp, which is a combination of theory and practice, will be a 48 hours Game Jam.