Headquarters for composer, sound designer, musician, and future ruler of the world, Cain Kong. Some may even know him by his mortal name, Cain German.
Audio peeps: Maschine Integration Questions
I'm currently in the process of writing a blog post and creating a video showing how I integrate Maschine into my production, both video game and regular production as well as a controller.
Are there any questions you would like addressed? any features you want demonstrated?
Seems like there are a lot of people looking at this amazing conglomeration of hardware/software, but are un-informed about how it will incorporate itself into their workflow, what it actually is/ does, and plugin hosting.
Much gratitude to Perry LaMarca on this project. He is single- handedly responsible for constantly pushing me to up the bar on myself, breaking down barriers of what I formerly thought were impossible, and really helped extract my best work yet.
I delved deeply into the mood of the room, the story, and the character.
For textures, I borrowed from John Williams and many have told me that I stole the harmonic language from Danny Elfman. I’ll take that as a compliment.
The Runs Script in Hollywood Strings really shined here and allowed me to write intricate lines, gave way to more elaborate orchestration. The variety of included reverb impulses gave me the opportunity to audition impulses until I arrived to the perfect reverb; If I remember correctly, it was the Burbank Scoring Stage impulse.
CineBrass, gave me the transparent power I needed, and have absolutely fallen in love with their velocity switching. Velocity switching makes key switching seems like an antique, a novelty. I love loading a single patch for several articulations including Legato, Sustain, Marcato, Staccato, Staccatissimo, and have all of the dynamics controlled with the mod wheel. This method of articulation switching makes for fluid play and programming and a cleaner project view. It’s microphone mixer is awesome when I’m searching for a different tone.
Get Going: Toss a bunch of ideas out. Direction comes from joyous chaos. No filters, just go!
Get Excited: Brainstorm. Dream. Take tangents. Notice where ideas go, what’s cool about them, and incorporate them.
Get Food: Brainstorming sessions go better when food or toys are around.
Get different opinions: Listen to someone else’s point of view and listen for things that improve the project. (I’d say save this for when you’re stuck. Getting everything out is the most important at this stage.)
Get confused: Ask yourself hard questions that you can’t answer. (Again, I’d save this for the end. Get everything out, first. Let’s minimize the potential for paralysis by analysis.)
Get it on paper: Take everything you’ve learned and write a description of the goals and details of the design. If you write convincingly, you’ve got a great idea.
The most important action is by far is GETTING STARTED. If you’re a professional, you can’t wait for the lightning to strike. Don’t think, just do.
*This is an excerpt of “The Imagineering Workout”, a book comprised of anecdotes/ creative exercises written by some of the Imagineers at Disney. Small additions by myself.
I have found collection of exercises to be extremely helpful in courting the muse and inspiring ideas when the ideas bin is running low. They can easily be applied to any thing, really. Their objective is to stimulate cognition.
Good composer friend of mine, Whitaker Trebella just released his soundtrack to the game Cardinal Quest. In addition to his excellent score for the title, he added some remixes for some of the tracks provided by Jeff Ball, Satsuma Audio, Disasterpeace, Joe Cavers, Charlie McCarron, and Cain Kong himself! (that’s me)
I’m not gonna lie, I was pretty flattered when Whitaker asked me if I wanted to contribute a remix to one of his tracks.