[Ghost.Recon.Future.Soldier-BlackBox Tool
Kody Coste
Have an extensive look at the newly unveiled single player and multiplayer modes of Trials Evolution, along with an examination of the new in-game editor allowing players to create their dream tracks.
Watch the first video of the near-futuristic combat action as the squad deploys remote sensors, uses advanced imaging, and employs other high-tech tools in Ghost Recon Future Soldier because "only the dead fight fair."
The ambient sonorities are lush, evocative and hypnotic. The Risers and Stings are spectacular and the Hits are huge and completely awe-inspiring. I think GRAVITY is the greatest sample library ever produced.
Curated, polished, and powerful, Analog Hybrid Drums is another seamless offering from Heavyocity. The production is top-notch, and the source material sounds clean and consistent. The attention to detail in creating this instrument leaves the composer free to focus on making music.
Symphonic Destruction picks up where D2 left off: applying the same super-useful functionality to new symphonic/tonal source material. Heavyocity continues to set standards for what media-composers really need. Just the Braam Designer alone makes this worth getting!
Without fail, Mutations steps it up a notch. A very hard dirty industrial creepy notch! These sounds lit a massive brush fire of ideas in my head, that kept spreading and expanding. An all around a must have!
Damage Drum Kit twists the classic drum kit sound with tasteful and inventive processing. Its intuitive interface puts this powerhouse of an instrument right at the fingertips. All in all, DDK is a stellar kit full of great sounds and musical opportunities.
Solo Textures is so much fun to play, a fresh take on soloist string sampling and quickly becoming one of my favorite libraries for hybrid orchestral scoring. Just wonderful to use and experiment with.
Fury is equally happy warming up or melting down your sounds with its great-sounding modules and rhythmic sculpting tools. The huge variety of tones contained in this easy-to-use plugin make for a highly enjoyable experience.
With AVANT Modern Keys, Heavyocity has molded a classic stage piano sound into an inventive instrument, well adapted for contemporary productions. Warm and familiar keys sounds underpin the crisp production and creative sampling in this compelling library.
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Hi folks...just came across your publication, so great, thanks, and subscribed! As a maker of experimental music/art here on SubStack, so great to find likeminded communities. Would love you to take a listen to Polyester City and hear your thoughts! Really appreciate the work you are doing.
A few times throughout the past few years, I have been asked by editors to change specific facets about articles I\u2019d written for reasons related to SEO, clicks, and accessibility for a mainstream audience. While I can understand the intention, hearing such things makes my blood boil, especially when it requires forsaking one\u2019s integrity. Such an experience happened recently, and while it all worked out, I\u2019m just glad that I still have this space on Tone Glow for both myself and my fellow writers to muse on whatever they want, in any fashion they want. The amount of publications that have shuttered in 2023 alone is horrific, and I frankly don\u2019t see any way forward unless major changes happen. In the meantime, we\u2019re just gonna keep channeling the spirit of the blogosphere days. Below, find 39 different albums and songs we enjoyed throughout the first four months of the year, be they new or old. \u2014Joshua Minsoo Kim
Larry Wendt is one of the all-time great sound poets, and this compilation is doing good work by making his \u201980s material more widely available. On the narrative end of things, his discography is full of tales of the nascent Silicon Valley culture in which he was firmly embedded. Some string together fictive anecdotes of home tech nerdom that range from the dryly satirical to eerily poignant (\u201CThe South Bay Homebrew Inventors Club\u201D); many narrate surreal horrors or dystopic near-futures that emerge from those same technologies (\u201CModem\u201D). Wendt\u2019s deadpan delivery is an essential part of what makes his pieces compelling, as it lends itself to the sorts of compression, phasing, delay, and other subtle ways he processes his voice. Key plot details are reflected by changes to the soundscape, in the manner of a deft radio play.
Many of Wendt\u2019s other compositions riff on the language of advertising, often taking the form of speculative advertisements. A standout in this department is \u201CYou Can Change It All You Want,\u201D which takes a seller\u2019s script for a digital word processor and chops it up so as to repeat and segue erratically, embodying in its cut-and-paste structure the narrator\u2019s encouragement that, with your newfangled word processor, you can delete, rewrite, and edit as much as you want\u2014in any way you want. The juxtaposition between the modest proposal of the base text (\u201Cit\u2019s a typewriter, but more convenient!\u201D) and the novel directions\u2014including those at the edge of coherency\u2014that digital manipulation opens for the very composition of texts (and the ways in which they\u2019re read) is an ironic and incredibly effective way of orienting the listener toward the possibilities for sound poetry latent in the techniques afforded by consumer cassette technology in the \u201970s and \u201980s. The strength of Wendt\u2019s work lies in its engagement with the formal properties of a medium that played as important an ancestral role to modern consumer-oriented audio software (e.g. DAWs) as sampling did, thereby granting that work implications that unfold far beyond his own milieu. \u2014Jinhyung Kim
I have a long personal history with Michelle Lou\u2019s music, and in particular a deep fondness for her piece HoneyDripper. I first heard HoneyDripper in 2016 and was immediately seized. Have you ever had the experience of seeing someone you don\u2019t yet know and in spite of this, feeling a deep sense of familiarity towards them, knowing somehow that they would be important to you? Many of my deepest friendships were preceded by this sensation\u2014it\u2019s enough to make you believe in ghosts or past lives! My first encounter with HoneyDripper was one of the few times this has happened with music: I felt a sudden connection to this work, sensing that there was more to come, that the piece and the person would hold an importance in my life. From 2017-2018, Michelle was my composition teacher\u2014since then she\u2019s become a dear friend and collaborator. Despite the evolution from mentor to friend, when I listen to HoneyDripper, performed here with rigor and commitment by Mattie Barbier and Weston Olencki, I find my ears drawn back to something pedagogical, transported into the role of student once more.
With HoneyDripper, I find my ears attending first to the form. The piece works with a seemingly impossible formal simultaneity, one where vertical blocks of material somehow unfold the horizontal aspect of time. It\u2019s like a transposition between states of matter, as if a massive block of marble were dropped on the ground only to begin flowing like water on impact. The piece cycles through the presentation of singular and complex materials, but on further inspection, the materials aren\u2019t really singular\u2014are they? Each block, or module, is like some shifting perspective on a single object: it\u2019s not that the materials are different, but rather, that the conditions under which they are presented, through which we encounter them, are changed.
As a student Michelle would tell me that my work needed to be longer; she said that when working with materials of a certain complexity an increased amount of time was required in order to process them, to properly perceive them. In this sense, we start to better understand the form of HoneyDripper\u2014it\u2019s the result of a single sound, a single material, extruded and spilled out across its formal container. The horizontal aspect of time is literally set in motion by the material itself and thus becomes indistinguishable from the substance of sound.
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