A Wide-Open Market for SongsMar 1, 2004, By Blair Jackson One fairly recent development in game audio is the steady increase in the licensing of songs by both established and up-and-coming rock and hip hop artists, usually not at the exclusion of a conventional music score, but in addition to.... A Dangerous Science Fair ProjectMar 1, 2004, By Eddie Ciletti Condenser microphones are the topic this month and I have a great story about them with a funny ending.... Audio at Electronic ArtsMar 1, 2004, By Blair Jackson AS LITTLE AS 10 YEARS AGO, sound and music for games were practically afterthoughts, usually handled by the same person, generated on MIDI synths and only occasionally using samplers and libraries for effects, and wedged into the game at the end, usually at 8-bit resolution.... Bob ClearmountainMar 1, 2004, By Maureen Droney In person, Bob Clearmountain looks much too youthful to have been engineering for more than 25 years.... Guitar Wizard Johnny A.Mar 1, 2004, By Barbara Schultz A home studio can be a blessing and a curse for a workaholic.... Music for GamesMar 1, 2004 We've moved from MIDI to audio files, from 22kHz mono playback to 44.1 stereo, and from repetitive bursts of loops to full scoring and interactive transitions — in key.... Gary RydstromFeb 1, 2004, By Tom Kenny It's the rare individual who is able to go out on top, to walk away from a career while still at peak performance.... Not Just for Dance Music AnymoreFeb 1, 2004, By Erik Hawkins When we think of loop-based production, we often imagine techno and dance music or remixed pop hits —...
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