- Home
- Music
- Music for Screen
- Photos
- About
- Twitter
- Last.fm
- Instagram
- Blog
- Contact
-
Sets
- 7 tracks (04:15)Television title music with beds and stings built around the branding of the theme.
-
Videos
-
Photos
-
Info
- Composer, Music Graduate of the University of SurreyMusic | Stevenage, United Kingdom, GBSummaryAndy Flowers is a final year student composer at the University of Surrey specialising in Music with Computer Sound Design. He is currently writing contemporary, electronic and popular music for animation and independent short films.
During his studies he has covered a range of projects including music for film, television, advertising and audiobooks. He is actively looking to work on projects where music and sound design are needed in their production.
Having acquired skills in synthesis with Reaktor 5 and becoming an Apple Certified Professional in Logic Studio 8, Andy is among the very few that posses the ability to create original sounds through synthesis and sampling.
Aside from functional music composition Andy busily performs as a bass player in various bands around London, Guildford and Hertfordshire.Specialties: Logic 9, Reaktor.Education-
2007 - 2010University of SurreyMusic with Computer Sound Design in Music
Additional Information-
Websites:
-
Interests:Music, Film, Technology
-
-
Tweets
- BREAKBOT "Programme" (b-side of forthcoming single) by @edbangerrecords via #soundcloud http://t.co/RpKJJYik
- I bloody love country file.
- I think I've fully mastered the art of mixing cereals.
-
Recent Tracks
- Come Near by Lykke Li
- Pentopia by Get The Blessing
- Low Earth Orbit by Get The Blessing
- The Waiting by Get The Blessing
- Between Fear And Sex by Get The Blessing
- Adagio In Wot Minor by Get The Blessing
- Torque by Get The Blessing
- Americano Meccano by Get The Blessing
- OC DC by Get The Blessing
- Sleepy Seven by Bonobo
Zero 7Danny ElfmanClint MansellAirBonoboJusticeBlake NeelySpoonFinkBruno CoulaisThomas NewmanAlexandre DesplatBrian TylerKings of LeonRichard CheeseThe SubwaysAudioslaveDaft PunkMorcheebaRed Hot Chili PeppersThe HivesJohn MayerDaniel LichtHans ZimmerMr. ScruffStevie SalasDJ ShadowTower Of PowerThe ProdigyNirvanaNoisettesTheodore ShapiroFrédéric ChopinNikka CostaJohn LesterEllie GouldingMichael GiacchinoRage Against the MachineAndy FlowersIncubusThe OffspringMuseWill SmithRJD2Aphex TwinJamiroquaiJohn WilliamsFlight of the ConchordsBeckBadly Drawn Boy- 55 plays
- 51 plays
- 50 plays
- 33 plays
- 30 plays
- 29 plays
- 26 plays
- 24 plays
- 22 plays
- 21 plays
- 21 plays
- 20 plays
- 20 plays
- 20 plays
- 19 plays
- 19 plays
- 19 plays
- 19 plays
- 18 plays
- 18 plays
- 18 plays
- 18 plays
- 18 plays
- 18 plays
- Move On Me by Fink18 plays
- 18 plays
- 18 plays
- 18 plays
- 17 plays
- 17 plays
- 17 plays
- 17 plays
- 17 plays
- 17 plays
- 16 plays
-
Photos
-
Posts
- Dec 20, 09
Walter Murch is an award winning sound designer who has shaped the sound of many high ranking movies. His credits include The Godfather part II and III, Apocalypse Now and The Talented Mr. Ripley. A lot can be learnt from the articles he’s published and also the lectures he’s given.
While browsing filmsound.org I came across such a lecture uploaded to google video where Murch gives a lecture to a BAFTA convention in 2003. Its split in two parts and runs about 1 hour 30. You can watch both parts below.
I highly recommend taking the time out to watch these, as Murch gives a great insight into the sound design of the films he’s worked on. Its also worth watching just for the Zero7 soundtrack over the introduction…
Many of Murch’s articles can be accessed on filmsound’s Walter Murch page. Enjoy!
- Dec 20, 09
My recent blog post on SPL’s free 59€ Attacker plugin led me to this blog post linking you to some of the best free plugins avaliable. These are both effects and instruments, most of which I use frequently.
While some of the instruments might be ‘lite’ versions they are still great tools and may open your creative pallet to timbres outside your usual instrumentation. Give them all a shot, you really have nothing to lose!
Tonehammer - Phonautograms
Instrument: Kontakt, EXS24 and SFZ“Its our pleasure to share a very special find with you all. The non-profit organization First Sounds has restored the earliest human audio recordings to a listenable state. Invented in the 1850s by French inventor Édouard-Léon Scott de Martinville, these “Phonautograms” actually predate Thomas Edisons earliest recordings by nearly two decades.
They were made by projecting sound into a cylindrical horn attached to a stylus, which in transferred the vibration into lines over the surface of soot-blackened rolls of paper. These captures were purely optical. No device existed which could translate the recorded acoustic information back into sound, until the First Sounds organization acquired the artifacts, with the help of the French Academy of Sciences. They worked with scientists at Lawrence Berkeley National Laboratory and other experts to devise a method of scanning and deciphering the images.
In the spirit of celebrating the past and present day sonic pioneers who brought this piece of history to us, we converted one of the sets into a playable instrument. We chose the D Major scale recording titled “Gamme de la Voix – Vocal Scale (May 17, 1860)”, since it made for the most direct and flexible instrument.
You’ll notice that the distorted fidelity, pitch and tone yields a smeared and crackling quality, sounding somehow between a frail and warbly voice and a washed out flute. We think it actually sounds beautiful and reminds us of the humble beginnings that modern audio-visual media has grown from. We’d like to thank David Giovannoni and everyone else who worked to restore and share this amazing little piece of history with us. If you happen to make any cool music with this little instrument, please do share it with the folks at First Sounds. They’re very interested in hearing how people use these sounds in creative ways.
We’ve included Kontakt, EXS24 and SFZ formats, as well as a set of synthetic drum sounds made from the same source material. In the Kontakt version, the modwheel controls subtle vibrato and tremolo effects.
The download is under 5MB and is absolutely free.”
Download: http://www.tonehammer.com/demos/Tonehammer_Phonautograms.rar
Sonalksis - FreeG (Free Gain / Fader)
Effect - OSX (UB) VST/AU/RTAS“The Sonalksis FreeG is an intuitive tool that can be used for a variety of applications to increase the control and flexibility of the signal flow in the insert chain of the host.
To make the workflow and the overview of the signal processing easier, FreeG provides extensive, customizable metering features and settings.
When working with digital audio, lack of fine metering and extended signal flow control in the host is a common issue. The intentions with FreeG is to improve the workflow in the host by providing these features in the insert chain.
By providing the possibilites of extended control of amplitude, phase and pan (stereo version) in the insert chain as well as fine metering, with user configurable industry standard parameter options, the range of applications for FreeG is almost only limited to the context of the actual usage and of course, the insert chain.”
Download: SonalksisFreeG.dmg
Soniccouture - Speak & Spell
Instrument: Kontakt, EXS24 and Live“A much-loved and ubiquitous toy from the 1970s and 80s, Texas Instruments Speak & Spell has found a new lease of life in electronica in the last few years. People discovered that if you tinker with its circuits and voice chips, glitching, looping, and other interesting effects can be achieved. ‘Circuit Bending’, as this is known, is said to have begun in the late 1960s, and its invention is attributed to one Reed Ghazala, after a fortuitous accident with a toy amplifier.
Today Circuit Bending has reached the levels of an Art-form, with its leading practitioners going ever further with increasingly unlikely toys and devices, in search of sonic chaos. In addition to toys, Digital musical instruments such as synths and drum machines make excellent circuit bending subjects for musicians, as a visit to Circuitbenders.co.uk website shows.
The SC Speak & Spell was created by Andy Wheddon, a keen bender from Brighton, UK. It has various trigger and loop controls, as well as a pitch control knob and the all-important jack-output. In use, the results of a circuit bent S&S are far from predictable. The best technique tends to be to let the machine go into a random pattern of words and glitches which can then be looped or manipulated, albeit barely, with the modified controls.”
Download: Speak & Spell (Registration Needed)
Soniccouture - Music Boxes
Instrument: Kontakt, EXS24 and Live“A really nice, surprisingly useful set of of 2 childrens music boxes in the usual sampler formats. use with the Scriptorium ‘Tape Wow’ KSP script for a woozy, lullaby feel.”
This has to be my favourite of all the free virtual instruments out there.
Download: Music Boxes (Registration Needed)
I’m confident these will keep you busy for now. I’ll update the blog every month with some new free plugins. If you have any recommendations, please send me an email.
- Dec 20, 09
SPL are currently offering their Attacker plugin for free.
The Attacker allows you to amplify all attack events, no matter what their signal level. This allows you to create some really interesting sound design. Grab is now for free.
“We celebrate one year of Analog Code and give away one Attacker per computer. The Attacker is based upon the famous Transient Designer and provides its more attack function.
The Attacker give away promotion is running from October 15 to November 15, 2009. Click here and download one unlimited full version per computer.
The recommended retail price of the Attacker MicroPlug is 59 Euro (excl. VAT) – except now!”
Download: http://www.spl.info/software/download/attacker4free.php
- Dec 20, 09
When Steve Jobs promised that the new iTunes LP format would reinvigorate the album concept for the digital age, he apparently did not mean music by indie artists. Brian McKinney of Chicago indie Chocolate Lab Records did some digging:
“We approached our distributor a couple weeks ago to see how we go about submitting an iTunes LP to the iTunes music store. The response was that Apple was charging a fee of $10,000 to produce them, but aside from the cost, they were not being opened up to indie labels (like ourselves). That chapped my hide a bit because what we lack in huge budgets at Chocolate Lab, we attempt to make up for with quality and services. Take for instance the iTunes booklet. We’re now designing booklets to be included with every CLR iTunes album download. they’re not expensive to make, but we want to do everything we can to give the end consumer the best experience possible.”
There are rumours of changes in pricing and polices at Apple. In fact, Tunecore has delivered at least one indie project as an iTunes LP though they to told Hypebot that Apple was considering applicants on a case by case basis. For now, however, $10,000 is out of reach for most indie labels and bands.
- Dec 20, 09
When we watch a movie, we’re usually not conscious of the cuts made by the editor. The camera angle may change dozens of times during a scene, and we follow along as if the flashing from one viewpoint to another wasn’t at all unusual. You might think this is just because we’ve been accustomed to watching TV and movies, but researchers have found that even people who’ve never seen a motion picture have no difficulty following along with the cuts and different camera angles in a video.
But little research has actually been done on the impact of changing camera angles in a movie on our perception and memory of a scene. While cutting abruptly between camera angles seems unnatural, moving a camera from place to place while filming can be quite realistic: after all, people walk around all the time; their own viewpoint is constantly changing. One study did find that people have better memories for a static scene filmed with a moving camera, compared to two still shots taken from the beginning and end- points of the camera’s motion.
But what about dynamic scenes? If the people in a scene are themselves moving, will an abrupt cut to a new camera angle disorient the viewer? Filmmakers have found anecdotally that a 180-degree shift in a cut can be extremely disorienting — that’s why when watching a football or basketball game we usually see the action from just one side of the field or court. But do smaller cuts have a similar impact?
A team led by Bärbel Garsoffky showed computer-generated ten-second movies of a half-court basketball game to 12 volunteers. In some of the movies, the camera maintained a steady position either at the side of the court or midcourt, looking straight at the hoop, like this:
In some movies, the camera angle abruptly changed form sidecourt to midcourt (or vice versa) four seconds into the film. In others, the camera moved smoothly between the two positions in a two-second-long pan. After watching each movie, viewers saw 24 still images. Twelve of the images represented actual court configurations from the movie they had just watched, while twelve images depicted the same players, but in positions they had never occupied during the movie. Viewers indicated whether each still shot represented a part of the game they had just watched.
Some of the still shots used the camera angle the viewer had originally seen them from, but others were from different camera angles: 45°, 90°, or 135° offset. Regardless of the camera angle in the test, viewers were equally accurate at remembering whether they had seen that still shot. But the camera motion during the original movie did matter:
There was no significant difference in the results for a static camera versus a moving camera, but viewers were significantly less accurate when they saw an abrupt cut in the movie. This decrease in accuracy was almost entirely found at the point in the movie immediately following the cut, suggesting quite strongly that the cut itself momentarily disoriented viewers. So although the perceptual system can handle cuts in a movie presentation, those cuts do have some cost.
I do wonder if the costs would be as evident in a longer scene. One reason movie editors like to make a lot of cuts is because it maintains visual interest. Perhaps at some point viewers would lose interest in a scene without cuts, and their memory for such a scene would actually be worse than a scene with cuts.
Garsoffky, B., Huff, M., & Schwan, S. (2007). Changing viewpoints during dynamic events Perception, 36 (3), 366-374 DOI: 10.1068/p5645
Taken from scienceblogs.com - Cognitive Daily
