Audio at Electronic Arts

Mar 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 Clearmountain

Mar 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 Games

Mar 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....

Ableton Live Version 3

Mar 1, 2004, By Barry Milroy

The fact that Ableton Live can instantaneously preview any .WAV, .AIFF or SDII file at any tempo with the click of a mouse without additional slicing or preparation, combined with the software's capability to run alongside Pro Tools (via ReWire) or function as a disk streaming software sampler, has made the product popular with both film and television music composers and loop-minded producers....

Gary Rydstrom

Feb 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 Anymore

Feb 1, 2004, By Erik Hawkins

When we think of loop-based production, we often imagine techno and dance music or remixed pop hits —...

Living Colour

Feb 1, 2004, By Chris J. Walker

Much like a popular couple breaking up, the extremely dynamic alternative metal band, Living Colour, which officially disbanded in 1995, was constantly queried about reuniting....

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