Out Now: A New Course With Ryan Lott (of Son Lux) on Designing Custom Instruments
Soundfly’s foundation-shattering new online course with Ryan Lott (of Son Lux), Designing Sample-Based Instruments, is out NOW. Check it out!
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Why Joe Hisaishi’s Music for Studio Ghibli Tugs at Our Heartstrings
A personal reflection on the power of composer Joe Hisaishi’s music, combined with Studio Ghibli’s stories, to enchant and touch the viewer.
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Student Spotlight: Kevin Gundlach on Scoring “Space Desert Western” Game Music
In this edition of our Student Spotlight series, we chat with composer/sound designer Kevin G on his score to the game, Desert Moon of Karth.
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The Best and Worst Songs of “Cop Rock”
Newly bolstered by the internet, we take a closer look at 1990’s TV series, “Cop Rock” — and try to determine its best and worst songs.
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Learn to Rebuild the Spooky Arpeggiated Synth of Stranger Things
Just in time for Halloween, we show you how to recreate the spooky arpeggiated synth bass patch from the Stranger Things theme music. Try it out!
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4 Techniques for Creating Realistic Orchestral Strings
With great plugins and sample packs, creating lush orchestral textures digitally is easier than ever, but making it sound real remains a challenge.
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Why Do We Like Sad Music So Much? On ‘Life and Death’ From ‘Lost’
Let’s look at how music can make a song sound sad even when there are no lyrics — and why we like that so much.
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Essential Tips for Orchestral Positioning and Mix Panning
Orchestral music doesn’t necessarily require EQ and compression to sculpt the sound you want.
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Mixing and Processing a Virtual Orchestra
Orchestral music doesn’t necessarily require EQ and compression to sculpt the sound you want.
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Extracting Latent Sound: Composer Lawrence English on Scoring David Lynch’s Photography
In 2015, Brisbane’s Gallery of Modern Art presented David Lynch: Between Two Worlds, a major retrospective of filmmaker David Lynch’s works across painting, sculpture, installation, and photography. To celebrate the landmark retrospective, curator José Da Silva, along with Lynch and his studio, developed a number of commissions for the exhibition. One of these commissions was HEXA’s…
