A few months ago I expressed my enthusiasm about ZeGame. Especially the virtual reality experience was amazing! The joy of scoring for this game was that indie feeling we had while creating it. Just with the three of us (Jesper, Selle and me) doing Skype sessions, talking hours about glitches and improvements. No major studio sessions, but exploring the limits of the FM8, Massive, Slim Phatty and Korg EX-800). There was no hard deadline so we had all the time to involve both sound design and music in one audible creation. By bouncing our creations towards each other the sound became much more than sound and music separated from each other. A good example is the third world, where you can hear the sounds of the ocean and the sound of the whales being part of the score.
Last week, the game has finally been released on all major platforms. Tomorrow the score will be released on band camp, and eventually the theme will be released as single on Spotify. Hopefully it will get some extra bonus worlds or an expansion pack. If not, I sincerely hope to be part of this team in the future to work together on a new game.14 juni 2016
Phil Spector (1939) had a enormous influence on pop music in the second half of the twentieth century. While working in the Gold Star studios in the 1960s, he developed a special recording technique called the wall of sound. It was basically a formula that made use of harmony and music technology in a way to mask definition in the whole. By doing so, it became difficult to distinguish instruments from one another as they form a certain density. In Walking in the Rain (1963) and Be my Baby (1964) by The Ronettes one can clearly hear this effect.
Over the last year and a half, New Hansen tried to reconstruct the wall. What will happen when we look beyond the wall of sound? It will be explained how Spector built his wall, but more interestingly, it will show how to create a wall of sound yourself. Recording instruments exactly the way Spector did more than fifty years ago, we now have all the bricks to rebuild the wall, and to control each part separately to define the instruments and see it become a whole. With this valuable information, we can answer the question whether it is still possible to recreate Spector’s wall of sound with today’s technology.
Tuesday March 15 10:30-11:15 in the Blue Note room at the Conservatory of Amsterdam. Entrance is free.11 maart 2016