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Aujourd’hui — 15 juillet 2020Vos flux RSS

Stephen Arnold Music Shines at Broadcast Production Awards with Four Wins

DALLAS— Stephen Arnold Music came up big at NewscastStudio’s annual Broadcast Production Awards, picking up four awards – including Best Overall Use of Music for CNN America’s Choice Debate “Super Open”, a fully orchestrated, three-act music score.  Other honors came for the studio’s work for China Global Television Network (CGTN), Scripps Television Stations and WDAF/FOX ...

The post Stephen Arnold Music Shines at Broadcast Production Awards with Four Wins appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

À partir d’avant-hierVos flux RSS

6 ways DJs can get organized during lockdown (you’ll thank yourself later)

We all feel it – the COVID-19 burnout is real. Many of us are itching to get outside, to play clubs again, to be back on a dancefloor, and to play on a big soundsystem again. Yep, we miss it too. But we’re not quite there yet – particularly in the United States. That’s why so […]

The post 6 ways DJs can get organized during lockdown (you’ll thank yourself later) appeared first on DJ TechTools.

ELIAS Arts Rebrands as ELIAS Music

Audio agency celebrates 40 years with the launch of new website and “ELIAS Indie,” a new platform for connecting emerging artists with brands SANTA MONICA –  Renowned music and audio agency Elias Arts is rebranding as ELIAS Music. Celebrating 40 years as a leader and innovator in music and sound for brands, the company is ...

The post ELIAS Arts Rebrands as ELIAS Music appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

What We Can Learn from Music Videos Released During Quarantine

The film industry is on hold, but in the music industry, the show must go on. Here are some exceptional examples of music videos produced in quarantine.

Ambisonic, Binaural, and ASMR Sound for VR/360 Videos and Beyond

Check out PremiumBeat's new collection of ambisonic, binaural, and ASMR music tracks for use in VR/360 video projects and beyond.

FACTORY BERLIN: Artist Residency

Par : Marco Savo

DEADLINE: 17 June 2020 1 July 2020

PROGRAM: 27 July – 30 November 2020

Factory Berlin, Sónar+D, and Beats by Dr. Dre launch an open call for audiovisual artists who would like to participate to the 2nd edition of Artist in Residence program in the Creators Lab at Factory Gorlitzer Park.

The residency supports artists exploring new lines of inquiry intersecting technology & society. The aim of this program is to facilitate dialog, partnership, and collaboration at the intersection of technology and exploratory arts. By focusing on this synthesis, the program empowers artists to create work which inspires shifts in perspective and cross-collaboration.

These are the categories covered by the open call:

COMPUTATIONAL CREATIVITY & HUMAN-MACHINE COLLABORATION

EXPLORING NEW FORMATS & APPLICATIONS FOR FORWARD-THINKING MUSIC

BUILDING CREATIVE BUSINESSES

CREATING EXPERIENTIAL CONTENT

READ MORE AND APPLY

The post FACTORY BERLIN: Artist Residency appeared first on Audiovisualcity.

Howling Music Marches in Step with USMC and Wunderman Thompson

Nashville-based Howling Music produces “running cadence” soundtrack for ADDY award-winning campaign celebrating the Marines’ 244th anniversary.  NASHVILLE— The Marine Corps marked its 244th anniversary in celebratory manner with the release of an ad campaign featuring its first-ever “birthday” running cadence. Conceived by Atlanta agency Wunderman Thompson and featuring a soundtrack composed and recorded by Howling Music, Nashville. ...

The post Howling Music Marches in Step with USMC and Wunderman Thompson appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

MUTEK SF: NEXUS Experience

Par : Marco Savo

ONLINE, 23 – 24 May 2020

A digital gathering organized by Mutek San Francisco with NEXUS Experience.

The audiovisual event celebrates world-famous digital culture, experimental electronic music and films. It debuts online this year to respond to the current restriction on public events

MUTEK SF – NEXUS Experience is free to join. Donations are welcome as all proceedings will go directly to the artists.

The online festival has worldwide support from the international MUTEK network.

Contact

Website

Facebook | Twitter | Youtube | Instagram

The post MUTEK SF: NEXUS Experience appeared first on Audiovisualcity.

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⁣EXO/ENDO from six years ago. Still one of our favorite projects ever and some of the best music we’ve been able to work with from the amazing @andrelizyoung. Haunting, dark, and brooding just like we like it. We got to encase the entire ensemble in pods of scrim and projection while we went down a tunnel, through the trees, into the fire, and through the ash fall. Exothermic and endothermic reactions of sound and light. #productiondesign #projectiondesign #projection #videodesign #destruction #layers #noise #experimental #doom #metal #music #live #liveperformance #calarts #openframeworks #millumin
https://www.instagram.com/p/CAa-T6SpcQn/?igshid=y3iuy18wa1e4

AVCity interviews Weirdcore

Par : Marco Savo

1.YOU HAVE A VERY VARIED, YET DISTINCTIVE AESTHETIC THAT CAN BE EASILY RECOGNIZED, BUT AT THE SAME TIME, A LITTLE DIFFICULT TO CLASSIFY! WHAT WERE YOUR EARLY GRAPHIC INFLUENCES/INSPIRATIONS AND WHAT ELEMENTS OR EXPERIENCES HAVE BEEN KEY TO THE DEVELOPMENT OF YOUR STYLE?

 

Hi guys! Thank you for your questions and your interest in my work. Let’s get started! Here my main influences:

In the 80s: whilst growing up in France, I was very inspired by the vast amount of Japanese anime on TV, especially the Cobra series (funny that it was just on kids TV back then in France, where it would be rated 12 or 15 here in UK now) and films like Videodrome, Nightmare on Elm Street, Evil Dead 2, 2001, The Thing, Altered States, Blazing Saddles, Monty Python films and such like.

Weirdcore_Audiovisual_Artist_Interview1

In the later 80’s & 90’s whilst living in different parts of the UK during my student years, I was really into rave graphics and visuals like
Stakker Humanoid and FSOL.

I was massively into MTV’s Aeon Flux series and non verbal films like Baraka, Koyananskatsti, Atlantis and such like. The Day Today  / Brass eye have been quite important as well in terms of absurdity and “OTT-ness”, especially the Brass eye Infographics. Then in late 90’s & early 00s once I moved to London I was massively into Ryoji Ikeda / Dumb Type / Semi-conductor Films / Ukawa.

In terms of key experiences, I’d say it was seeing Daft Punk live multiple times in the mid 90’s & their Audiovisual show in the 1997 tour. That was definitely the main experiences that pushed me to do what I do in the audiovisual world.

It was like a “smack in the face”. So bold, minimal and sync-ed to the music, it totally blew me away. I remember thinking back then, I wanted to blow people away in the same way someday.

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2. IN YOUR WORK WE CAN SEE A BIG VARIETY OF IMAGE PROCESSING RESULTS, DOES THIS EXPERIMENTATION GO HAND IN HAND WITH AN EXPERIMENTATION OF THE TOOLS YOU USE TO CREATE THE VISUALS AS WELL?

 

Good question, that I’m not sure how to answer as I don’t really think about it in that way. I’d say I very much differentiate my live & studio work. To me, my live visuals are technically made in similar ways to how my friends make music.

I position myself in the same category as lighting/laser designers, in a sense that I’m there merely complementing/enhancing the audio experience. As in my studio work I very much try to recreate the kinda vibe of an anime intro or 80s music video, which in my opinion were far more entertaining. For me, it’s all about visual impact and entertaining the audience.

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3. HOW WOULD YOU DEFINE “AUDIOVISUAL ART” AND HOW DO YOU POSITION YOURSELF IN THIS SPECIFIC CULTURE?

 

This is a tricky question for me, as I find it hard to categorize anything I see on my computer screen or at a party as art. For me it’s more like graphics or entertainment. Call me old fashioned but for it to be Art is has to be in an art context (whatever that is), and as my work isn’t in galleries or such like (yet) i don’t really consider myself as an artist.

Actually I find the words art/artists are used way too sparingly in this day and age, so I’m not really sure as to where I fit in all this. I’d rather not think about it and just carry on doing my thing & let other people define me as they see fit…

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4. YOUR CAREER DEVELOPED ACROSS DIFFERENT FIELDS AND MEDIA SUCH AS ADVERTISING, FASHION, ELECTRONIC MUSIC, VIDEO CLIPS, AND SO ON. CAN YOU TELL US ABOUT THE CONCEPTUAL AND AESTHETIC LINKS CONNECTING ALL YOUR VERY DIVERSE PROJECTS??

 

I’m very much into specific/custom made/location-based designs. My ideas tend to be finding a way to best fit the “where” and “what”. My concepts are very driven by discussions (or lack of) with the artist/clients, which is why my work tends to vary in style (or quality, if the client/artist has too little input or dictates too much)

5. YOU HAVE WORKED WITH MANY DIFFERENT MUSICIANS AND SINGERS THROUGHOUT THE YEARS. COULD YOU DESCRIBE YOUR CREATIVE PROCESS OF VISUALIZING A SOUNDSCAPE AND THE DIFFERENCE BETWEEN WORKING WITH ABSTRACT CONTENTS LIKE ELECTRONIC MUSIC AND THE MORE EXPLICIT NARRATIVE OF POP AND HIP HOP CULTURE?

 

Firstly I figure the possibilities and limitations and work within those boundaries, then I discuss with artist/client to figure a rough direction to aim for, it then it generally snowballs from there.

I generally try to deliver what the artist/client & target audience wants, but not necessarily what they expect, so I tend to avoid the obvious options.

I don’t think I approach a project that differently depending on what genre of music it is. I just try and do whatever feels right for that category of music, BUT the workflow is vastly different depending of the type of artists they are.

Some artist are way more approachable than others regardless their music genres and when I can bounce ideas back and forth with them that is when I can go deep into what they truly want and get the best results. I can’t say the same when there’s a sea of management/label/producers between me and the artist.

It’s fair to the results are far more fruitful when I work with artists who don’t take themselves too seriously as I’m not a yes-man nor my specialty is making people like prim & proper.

READ MORE ABOUT THE AUDIOVISUAL ARTIST

The post AVCity interviews Weirdcore appeared first on Audiovisualcity.

Unsound: 4 – 11 October 2020 KRAKOW

Par : Marco Savo

Krakow, 4 – 11 October 2020

Unsound focuses on a broad swath of contemporary music — emerging, experimental, and left-field — whose sweep doesn’t follow typical genre constraints. Influential around the world, it has developed a reputation for identifying innovative scenes and radical sounds.

It’s a platform for an exchange of artistic ideas for musicians, visual artists, curators, journalists, record label owners and booking agents from every continent.  

The theme for Unsound 2020 is Intermission. Meaning a break in a performance or production, here it also refers to the rupture caused by COVID-19, a period starkly separating before from after. The word therefore embodies multiple, and somehow contradictory, forces.

The audiovisual event takes place every year at a number of venues across Kraków, regular events also take place in New York, Adelaide, Toronto, and London. Between 2016 and 2018, Unsound also produced eleven festivals in Eastern Europe, Central Asia and the Caucasus, part of a long history of working with curators and artists in the post-Soviet region. 

As well as spotlighting emerging artists, Unsound also commissions new shows and encourages trans-border collaborations, adapts and re-imagines abandoned spaces for concerts and club nights, manages cutting-edge artists, and is known for its sound-inspired Ephemera perfume project.

Krakow, Poland

Contact

Website

Facebook | Twitter | Instagram

The post Unsound: 4 – 11 October 2020 KRAKOW appeared first on Audiovisualcity.

L.E.V. Festival

Par : Marco Savo
LEV-festival-Audiovisual-Events

Gijon, September 10 –  13 2020

L.E.V. (Laboratorio de Electrónica Visual) is a platform specialized in the production and promotion of electronic sound creations, and its relationship with visual arts. It was a European pioneer in this field, and since more than 13 years ago, it tries to converge the natural synergy between image and sound, and the new artistic trends, making special emphasis on live actions.

LEV develops the L.E.V. Festival (in Gijón) and specific, de-localized shows called LEVents. Through both proceedings, the platform reaches its goal: to provide an eclectic, panoramic vision of the current state of creation and all its connections, in an ever-evolving environment.

That is why LEV focuses its work both on international artists that are leaders in audiovisual creativity and local artists, both pioneers and new talents.

L.E.V. is a co-production between the Principado de Asturias Government, the Gijón City Council and LABoral Art and Industrial Creation Centre and it was designed and conceived by the Asturian collective Datatrón. The festival honors by its acronym to Lev Thermen (Russian scientist father of the present-day synthesizers).

Laboral, Camino de los Prados 121,

Gijon, Spain

Contact

Website

Facebook | Twitter | Vimeo | Instagram

The post L.E.V. Festival appeared first on Audiovisualcity.

Weirdcore

Par : Marco Savo

London based WEIRDCORE is half English, half French and results in a director and collaborator who is one hundred percent out there.

Weirdcore’s work is the result of years of experimental design and animation work that pushes the boundaries of consciousness and visual interpretation.

Adopting a method used more often by artists and music producers rather than by visual directors, Weirdcore helps both advise and visualise others initial ideas, facilitating their progress through until the finished form, whilst also creating his own stunning individual projects.

With a unique blend of formats, colors, designs and mediums, the audiovisual artist has collaborated with some of the most exciting modern artists and directors such as Aphex Twin, M.I.A, Tame Impala, Radiohead, Nabil, Hype Williams, Charlie XCX, Smerz, Onetrix Point Never, Sophie Muller, Diane Martel and Miley Cyrus.

Weirdcore performed live in the most important festivals worldwide such as Glastonbury, Sonar, Fuji Rock, Coachella, Club2Club, Future Music, Field Day, Mira, Unsound, Melt, Lowland, Dour and more.

Weirdcore has also lent his emotive expertise to larger collectives, organisations and labels such as Warp, XL, Sony, Ninja Tunes and Domino, whilst keeping a dynamic and fluid focus across a range of other diverse industry’s such as Fashion, Theatre and Opera.

Contact

Website

Vimeo | Instagram

The post Weirdcore appeared first on Audiovisualcity.

FIBER Festival

Par : Marco Savo

Amsterdam, 24 – 27 September 2020

FIBER Festival is an Amsterdam based festival for audio-visual art, digital culture and electronic music.

With the program – which consists of multi-sensory art, performances and in-depth lectures – FIBER presents emerging art practices that offer alternative perspectives on our 21st century society.

With the festival theme of Instability the festival explores new ways of adapting to an age of planetary and societal changes. What opportunities are open to artistic making and thinking to contribute to this transformation?

Our living environment is often presented to us as stable and unquestionable. Landscapes, borders and technological infrastructures are considered static entities. Yet current crises now force us to transform the way we relate to our ecological surroundings. Extreme weather, droughts, wildfires and viruses are forces of nature that tear apart our modern way of living with far-reaching consequences.

The festival aims to seek artistic narratives, skills and sensibilities to prepare us for an alternative life in a period of uncertainty and radical instability.

FIBER Festival

Amsterdam, Netherlands

info@fiberfestival.nl

Contact

FIBER

Facebook | Twitter | Instagram | Vimeo

The post FIBER Festival appeared first on Audiovisualcity.

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⁣#repost @paolo.morvan⁣
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⁣Scenography made for @beyond_nights with @julesbouit & @kw.an.za at @transbolyon⁣
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⁣BEYOND [Dissidence] - 13/12/19⁣
⁣@terence_fixmer ⁣
⁣@angelkarel ⁣
⁣@is.tigkeit ⁣
⁣@morpheusproduction X @thatmeltedguy_ ⁣
⁣Picture @fabcaterini⁣
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⁣#scenography #scenographie #event #design #stagedesign #party #music #techno #technomusic #deep #mapping #light #lightray #structure #evenementiel #concert #dance #istigkeit #terencefixmer #angelkarel #lyon #clubtransbo #wood #woodstructure #led #millumin #neonlights
https://www.instagram.com/p/B_SaScLJZUG/?igshid=13zcosihvh4gi

Calrec: Phil Adler, A1 Mixer, A craft interview

Par : Jump

“I haven’t changed the way I produce a broadcast because of the internet. The quality of what I stream at home is as good, if not better, than what the local stations are transmitting. I make sure the mix sounds good at low volume and in stereo or mono, which is an old music mix ...

The post Calrec: Phil Adler, A1 Mixer, A craft interview appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

KAZU “Come Behind Me, So Good!” – Music video by Daito Manabe + Kenichiro Shimizu

KAZU “Come Behind Me, So Good!” – Music video by Daito Manabe + Kenichiro Shimizu
A collaboration between Daito Manabe (Rhizomatiks) and Kenichiro Shimizu (PELE) for Kazu Makino, 'Come Behind Me, So Good!' music video combines photogrammetry and mixed reality to create a seamless dream-like landscape, invigorated by Elevenplay performance.

Meet Endlesss, the iOS app for collaborative music making

Endlesss Tim Exile app

Tim Exile, longtime producer, performer, synth designer, and all-around musical aficionado, has finally released his much-awaited Endlesss app. And honestly, he couldn’t have timed it any better (though we’re sure he’s probably thinking the same thing). Endlesss is a new program that allows you to make music in real time with friends around the globe, […]

The post Meet Endlesss, the iOS app for collaborative music making appeared first on DJ TechTools.

⁣ ⁣⁣ ⁣#repost @raio__⁣ ⁣__________________⁣ ⁣⁣ ⁣ #mapping3D...




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⁣#repost @raio__⁣
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⁣ #mapping3D #videomapping by #RAIO #2016 #evolution #spheria #audiovisuales #multimedia #foley #moog #ableton #millumin #Estrenolapso #comingsoon #finalista #2018 #raiovisual #raiomusic more info : www.raiovisual.com
https://www.instagram.com/p/B9YpRshJNYZ/?igshid=lkm2u7fmdayr

5 Creative and Reliable Ways to Make Your Own Music Videos

Explore five methods for filming innovative and creative music videos with real-life examples from hits across genres and decades.

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⁣#repost @paolo.morvan⁣
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⁣Scenography made for @beyond_nights with @julesbouit & @kw.an.za at @transbolyon⁣
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⁣BEYOND [Dissidence] - 13/12/19⁣
⁣@terence_fixmer ⁣
⁣@angelkarel ⁣
⁣@is.tigkeit ⁣
⁣@morpheusproduction X @thatmeltedguy_ ⁣
⁣Picture @rob_le_rob⁣
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⁣#scenography #scenographie #event #design #stagedesign #party #music #techno #technomusic #deep #mapping #light #lightray #structure #evenementiel #concert #dance #istigkeit #terencefixmer #angelkarel #lyon #clubtransbo #wood #woodstructure #led #millumin #neonlights (at Club Transbo)
https://www.instagram.com/p/B8wQR9CpsGb/?igshid=ao9vafinbu60

Explore the Hip-Hop Sounds of PremiumBeat’s Own Vincent Tone

As Ruffsound, Marc Vincent is a force in Quebec hip hop and global pop. As Vincent Tone, he makes real music for real stories as a top ...

Kansas City’s WDAF FOX 4 Debuts Image Spot During the Big Game with Custom Song from Stephen Arnold Music

DALLAS—Kansas City television station WDAF FOX 4 took advantage of the hometown Chiefs’ presence in this year’s Super Bowl to roll out an inspirational promo celebrating the resilient spirit of its community. Driven by a rap-flavored anthem produced by Stephen Arnold Music, the spot broke during the local broadcast of the Big Game and features ...

The post Kansas City’s WDAF FOX 4 Debuts Image Spot During the Big Game with Custom Song from Stephen Arnold Music appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

The Welcome Chorus – The voice of a community

The Welcome Chorus – The voice of a community
Created by Yuri Sizuki (Pentagram) in collaboration with Fish Fabrications and Counterpoint, 'The Welcome Chorus' is an interactive installation that brings together sound, sculpture and artificial intelligence.

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⁣Ready for a new mapping light show with my new original music written for the Church in Lievin playing this night to Sunday night !!!⁣
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⁣Visual Artists : Susie-lou CHETCUTI, Patrick GRANDI, Jules HUVIG @juleshuvig/, Lucille JEANNIN, Loan LE HOANG, Simon LEBON, Hamza MRABET, Aurélien WOJTKO @_aurelien.w/ ⁣
⁣Music & Sound Design : Geraldine Kwik⁣
⁣Technique & Lights : Aurélien WOJTKO⁣
⁣Place : Église Saint-Amé - LIEVIN - FRANCE .⁣
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⁣#church #lightshow #lightart #light #lightinstallation #videomapping #loomprod  #originalsountrack #musicforpaintings  #mapping #composer #frenchcomposer #musicscore #ambient #composingmusic #sound #sounddesign #art #visual #millumin #madmapper #motiondesign #aftereffects #design #architecturalmapping #projectionmapping #movingimage #digitalartist #night
https://www.instagram.com/p/B7ba5jWppcU/?igshid=84b7s5bq9hzr

The Rane Seventy: a new battle mixer designed to directly compete with the DJM-S9

Par : Dan White

InMusic is on a roll with product releases this NAMM. Rane DJ is the next brand inside of the company to roll something out: the Rane Seventy mixer.  Look, we know the spec sheet already leaked over the weekend and everyone knew this release was coming. What we didn’t know was that Rane teamed up […]

The post The Rane Seventy: a new battle mixer designed to directly compete with the DJM-S9 appeared first on DJ TechTools.

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