Thursday, March 3, 2011

Live Mixing with FMOD Studio 2011

Just a little preview of in-game live mixing with FMOD Studio

This is a direct screen and audio capture of FMOD Studio connected to an Xbox running Double Fine's new XBLA game - Stacking.

Tuesday, March 1, 2011

Resolume VJ Software–It’s Like Ableton Live for your Flash Animations and Videos!

Resolume Avenue 3 -

Resolume Avenue 3 is a real-time instrument for live (audio) visual performances. Play video clips forwards & backwards, adjust the tempo and apply effects.

Flash Playback

Resolume plays all your Flash animations including AS2 and AS3 scripting. Flash can display text input from Resolume and with parameters you can gain even more control over your animations. Watch the Flash Features Video.


Audiovisual Playback

Play Quicktime and AVI video files with audio or combine any .mov or .avi video file with any .wav or .aiff audio file.

Flash Playback

Resolume plays all your Flash animations including AS2 and AS3 scripting. Flash can display text input from Resolume and with parameters you can gain even more control over your animations. Watch the Flash Features Video.

Quartz Composer Playback

With Resolume 3.2 you can play and mix Quartz Compositions just like any other media. You can expose parameters in QC patches just like Flash parameters so you can tweak your composition while VJ-ing. Watch the Quartz Composer Video.

Audiovisual Effects

Resolume 3 supports both VST audio effects and FreeFrameGL openGL video effects. Use them separately or combine them to create exciting new audiovisual effects. You can use as many effects as you like on clips, layers and the entire composition. Watch the Resolume 3 Effects Video

3D Compositing

Freely position, scale and rotate your clips and layers or even the entire composition.

Global BPM Tempo

Everything can be linked to the global (Beats Per Minute) tempo to create a fully synchronized audiovisual performance. Automatically pitch the audio and video and synchronize parameter automation. Use the beat snap function to trigger clips in sync with the beat.

Output and Preview Monitors

With the preview monitor you preview a clip or layer and configure it so it looks and sounds just the way you like it before you play it.

Flexible Interface

The Resolume 3 interface scales to the size of your monitor. Use it on a 1280x800 laptop screen or on a 30 Inch 2560x1600 resolution screen. The more screen-real-estate you have the more comfortable it is to use any number of clips and layers.

Deutsch Français Español Català Nederlands

The Resolume 3 interface and help is available in English, German, French, Spanish, Catalan, Magyar and Dutch.

Audio Analysis

Resolume 3 can do audio FFT analysis to make any parameter bounce to the music. Animate the size, rotation or position of a clip or make effects dance to the beat.

DXV Codec

Our DXV QuickTime video codec is the fastest codec available for Resolume. It let's you work effortlessly with a lot of layers and high resolution video. Because it does all the playback on the videocard's GPU it's faster than any other codec. More info

Video mapping

With the keystone plugin and masks your screen does not have to be rectangular anymore. You can map the video onto any object or surface. Combined with multi-screen output you can even project on multiple surfaces or objects.


Because Resolume Avenue can output any resolution it works perfectly with the Matrox DualHead and TrippleHead to deliver multi-screen performances.


Use MIDI from any device or software to control the entire interface. Want more precision & flexibility? Resolume 3 can receive OSC (Open Sound Control) messages too!

OpenGL Accelerated

The entire video engine is running in 32 bit floating point precision on the video card's GPU so you can use alpha channels and masks and get the best image quality possible on today's hardware.


Assign any layer to the A or B bus of the crossfader and mix it just like you do on a DJ mixer but now with audio and video.


Because Resolume 3 uses cross-platform technologies like openGL and C++ it runs on both Mac OSX 10.4.9 or later and Windows XP & Vista.

Minimum System Requirements

Windows: ATI Radeon 9600 or better. NVIDIA GeForce FX 5200 or better. 1GB RAM.
Mac: Intel processor. Quartz Extreme graphics card (Resolume Avenue is not compatible with integrated Intel graphics processors). 1GB RAM.

Monday, September 6, 2010

Interview with Producer Nanotek ( aka Mark Christiansen )

Bio - “NZ electronic music producer of the dark, heavy variety. Have released on various labels, Freak, Obscene, Technical Itch, Intransigent, Guerilla with forthcoming stuff on Barcode, PRPSCT, Bad Chemistry.”

Mark Christiansen ( Nanotek ) is a very talented electronic music producer. It’s as simple as that. If you listen to the super hard and super dark Drum and Bass or Dubstep, then either you have heard Nanotek’s music already or your just plain missing out. After first hearing Nanotek’s track “Better Place” I knew this guy was going to be making more tracks that were sick. Well, he has done just that and continues to do so. If you are like me and research like crazy on Drum & Bass, Dubstep and all kinds of tips and production techniques then you’ll appreciate the time that mark has taken in this interview. He is definitely one of the nicest producers I have ever met, and it is always great to talk with him as he is very down to earth and has a great sense of humor. He sheds some light into his life and I do believe that you will enjoy this interview with him. He’s a rising star and will continue to be making fresh tunes for a long time to come :) If you like Nanotek’s music then support him and buy his tracks. He works hard to make the music you love :) Ok, let’s begin!


Nanotek - Heteroclite (Clip) by nanoteknz

23622_354026576988_8147276988_3775162_177500_nQ: How old are you and where do you live?

A: I live in Wellington NZ, my partner is 25 so therefore I am 25. (You're only as old as the woman you feel).

Q: Can you talk about New Zealand a little, maybe talk about what it's like being an electronic music producer there. Are there any benefits or downsides you encounter being in New Zealand?

A: New Zealand is a great place to live. We have clean air, clean water and beautiful landscapes. We have a lot of cool people who are always willing to get behind events/artists and support the shit out of it, especially when it comes to bass heavy music. Our remote location both works to our advantage and disadvantage in that we are so far removed from what's going on that we are less influenced by what is going on in the rest of the world. But this also means that when it comes to connecting with the rest of the world it is a little harder, we have shitty internet and it is expensive to travel to the other side of the world. So we are a little cut off.


Q: You seem like a pretty funny dude, is this true? After seeing some of your pics on MySpace I get the impression you are probably a pretty cool guy to hang out with or drink with?

A: I'd like to think I am funny, but most of the time I am a bit of a goofball (my girl Kirsti thinks I am retard!). I have a weird sense of humour and sometimes cross the line with people. I am not normally a really outgoing sort of person, and I always forget people's names, so it's possible that I can come across as distant or snobby when really I am shy and am just trying to avoid the embarrassment of forgetting your name.

Q: What motivated you to get into Electronic Music and more specifically the darker Drum&Bass and Dubstep?

A: I heard some olschool German jungle on a mixtape back in 1998 and was like "Woah!!! WTF is that?!?!" Pretty much hooked from then on in. I don't even know what it was that I listened to. My friend didn't even know what it was as she had been given it by this dude from Europe when she was there. It was just like a mix of freakishly hard Jungle. But I think that was what was so cool about not knowing, it added to the magic and mystery of the music. It was pretty exciting!


Q: Can you talk about your influences that have made you who you are?

A: One of the most influential things in my life was the radio. I think I had listened to so much stuff when I was a kid that by the time I was a teenager I was looking for anything that was different. I hungered for anything that was different, harder, or darker. Other influences came from good friends who thought the same way. They had wide tastes in music and were very knowledgeable about bands, labels, producers etc. When we found a band that was interesting, we looked for anything and everything they had. This was before the internet too, so it was a lot harder to find information or even get albums in. A lot of the stuff we were into had to be imported so it was expensive and we had to wait for ages for a CD to turn up, and sometimes we couldn't even get some stuff. Made the musical journey that much more interesting.


Q: What software / hardware do you use to produce your music (Drums, Synths, Workflows -  What are your favorite synths, vst's etc..)?

A: I have a 17" Macbook Pro, a M-Audio Pre-USB2 external soundcard, a M-Audio Axiom 61 midi keyboard, a pair of Mackie HR824's, a pair of Beyerdynamic Headphones DT-990Pro. Most of my work is done on the laptop in headphones.
Software Reason & Ableton Studio.
I try to use only the tools that come with the software package. One of my old lecturers from university Scott Eastham wrote a paper once on Ohms law and creativity

Q: Do you find yourself using Ableton more now with Reason rewired?

A: I am still in a transitional phase at the moment, so I still use mostly Reason. Ableton is pretty cool though and I am always learning more about it. So in order to learn more about Ableton I rewire it in and see what I can do with. Most of the time I end up recording bits from Reason and hack them up even more in Ableton. I don't think I will ever stop using Reason as the Malstrom synth is awesome.

44870_426305421988_8147276988_5062218_3296882_nQ: I noticed you are active on the D&B forums a lot. Can you talk about things you often answer to new producers and questions they often ask. (ie: Can a track be made using Reason only etc..)

A: The first question most people ask is "What do you use to produce?" followed by "Really? You use Reason?"
I think that you can use pretty much anything to make music, it all depends on how you use the tools you have at hand. Reason is a pretty useful tool, as are the others. Most if it comes down to personal choice and how it "feels" to use some of the different software packages.

Q: What other producers, songwriters and/or artists do you see as your primary inspirations?

A: I really admire Current Value, Counterstrike, Machine Code and Cooh at the moment. CV is a machine and has one of the most unique and identifiable sounds. So focussed and so intense! Counterstrike have come a long way over the last couple of years and I really love what they are doing with D&B. Their production is completely world class and always smashes the dawnce, they have got their formula down pat. I recently got the chance to hang out with Cooh, and I have to say he is just amazingly open and always willing to share his knowledge. He literally has no secrets and has a really great workflow that allows him to create new songs very quickly.

Other people who influence me are Gein, The Sect, Gancher and Ruin, Technical Itch, DJ Eye D, DJ Hidden, SPL. They are all amazing producers and equally amazing people.

I think the most important thing, and I am really lucky in the respect as I have been able to work with them, talk and hang out, and that is they are all really great people. All very down to earth and all have something different to offer. I sometimes feel a little bit out of my league, but I am very humbled that these people want to work with me and just goof around in general.


Q: How did you first connect with Freak Recordings?

A: Limewax was touring NZ and I gave him a CD before he went to his hotel. He came back to me and loved what I had done. I think he then passed it on to Dylan and he contacted me via aim within a week or two to discuss releasing some tunes on Obscene and Freak.

Q: Can you describe what it's like being part of Freak Recordings and some of the people on that label (Dylan, Tech Itch, Limewax, Audio, etc.. etc..)?

A: It was a huge honour to be a part of the crew at the time, and it certainly boosted my profile which has allowed me to work with other artists, over time. Definitely opened a few doors for me.

Q: Can you talk about any collaborations you do with other artists and how that process usually works for you when you do?

A: Most of the collabs I have been a part of basic process is: one of us will start it, and the other person finishes it, with some subtle tweaks along the way. Nothing really complicated and is usually carried out quite quickly. So far I have collaborated with Gein, Counterstrike, Gancher and Current Value.


Q. Describe the life of one of your tracks. How dos it begin, how does it evolve roughly and how do you get to the mastered piece that users can purchase? How long does a track usually take for you? I think some readers will like to hear your mastering process as this is usually the hardest in some peoples minds.

A: I start the mastering process right from the beginning. Getting a good mix is essential! If you get a good mixdown then you don't have to much to final except make it louder.

Q: In your mind Mark what characteristics define a good D&B / Dubstep track to you personally. What is it in a track that makes you want to play a track over and over again. I know this is a matter of opinion but that's exactly what we want is your honest opinion.

A: I think for me it has to be something familiar, but also something strange. I like it when people experiment with new patterns, new sounds and different arrangements. But it cannot be totally divorced from the fact that we are still trying to make something for a dancefloor. You can be as abstract and strange as you want to be, but not many people will get it. D&B has never really has mainstream appeal and the subtype we make is even far more removed from the more marketable styles. There are times you can push the boundaries, and times when you stay within them. It's all about achieving a nice balance. Some people can push the boundaries better than others...


Nanotek - Incarnate V3 (Clip) by nanoteknz


Q: Why do you think Dubstep is becoming so popular? Seems like a lot of D&B producers as well as other genres are stepping into it.

A: Just something different. Nice to have a change. Everything comes and goes with tide of change. Dubstep is nothing new, it's been around for ages. It's just been washed up on the shore again for a different generation who have not heard it before.

Q: Just so you know "Better Place" is one of my fav tracks. Can you explain your process for this track (Any tips on how you get some of those clean hard drums like in "Better Place")?

A: Over processed drums layered with dirty breaks. Pretty simple formula. Keeping things simple is key. Too much going reduces the room you have to play with, so if you want big clean sounds, you need to strip back some of the noise. Not too much though, it's about finding the right balance.

Q: Do you perform live? If so how do you go about your shows and performances?

A: I don't perform live yet, it could be something I do in the future. Mostly I just DJ the tunes.



Q: Do you have any other passions beside music?

A: I love RC Helicopters. I am going to save up and build my dream one soon. So expensive but so much fun.



Q: Do you often play at parties and shows? If so which ones are your favorites and why? Anything new and upcoming our readers should know about?

A: I don't really play a lot of gigs here in NZ. My favorite places to play are Christchurch here in NZ, Oporto in Portugal and Austria. Good times!  I plan to tour Europe sometime next year, so get your slay bells awn!


Q: What advice would you give to kids and aspiring electronic music producers that are serious about making music? If you're like me you learned the hard way. Are there any tips for them that you learned in your journey they need to know?

A: Don't ever think you are too good to receive advice from anybody ever. Don't think that because you get signed to any label that you have 'made it'.

Q: Do you have any thoughts on the Drum & bass scene at all, good or bad?

A: I don't really think about it to be honest, the moment you get caught up in all the bullshit is when it stops being fun. For the most part, the people that I have met so far through 'the scene' have all been really nice people. There's a lot of politics in it, but it's the same with anything. It's everywhere and you can pretend it's not there, but it is. I hate politics in the scene but have come to accept that it is both horrible and hilarious at the same time.

Q: Are there any new tracks in the works right now you are gonna be releasing soon?

A: Yeah I got quite a bit going on right now. Some announcements will be made soon about some forthcoming stuff. Labels include: Barcode, Subviolenz, PRSPCT & Freak with a whole bunch more lined up.


n8147276988_532330_8421Q: I think this is the final question Mark, I am already grateful for you taking the time to answer these questions. But in conclusion, my last question is this: Do you make a living from Drum and Bass / Dubstep or any other genre of electronic music? Supporting you and others like you is something I really feel strongly about and would like to know how you are able to keep making music. You are an inspiration to so many (Probably more than you know) and your time today has been greatly appreciated Mark :)

A: I don't make a living out of music at all. What money I do get gets eaten up by living costs and trying to get new toys to make more music with. My living is made through working a dayjob, if I didn't do that I probably wouldn't be able to do what I do today. New Zealand is too small a place to make this sort of music and make money. If I was in Europe it might be a different story, but I love it here too much to leave.


  Nanotek - Fuck The Win (Clip) [Freak] by nanoteknz

Filthcast 019 feat Nanotek by nanoteknz


Nanotek Links:

Thursday, May 6, 2010

FMOD Designer 2010 – Let’s Take a Look

First off let me state the obvious. The UNDO and REDO features have been way long overdue and it’s finally here. Below are screen shots showing the new UI for FMOD Designer 2010 and the new way it displays multiple events and multiple property changes etc.the new look is in my opinion far nicer than the outdated blue Russian submarine they had before and from a usability perspective Firelight is certainly improving their product. I do commend them for accepting the fact that Audiokinetic’s Wwise Sound Engine is really taking the game audio engine market share and in order for them to stay in the game, they have to acknowledge that they actually listen to their users. Also I will be doing some advanced FMOD tutorials with the new 2010 FMOD Designer soon so stay tuned :)

Note: You can click each picture to see the actual real sized image.



The Event View

Multiple Events Selected.

Allowing for easy edits across many events at the same time.


More details about the new release:

Key Features

Improved InterfaceNew for FMOD 
Designer 2010

FMOD Designer 2010 features an improved layout and many workflow enhancements designed to make creating game audio faster and easier. Together with extensive engine integrations (see below) the aim of FMOD Designer 2010 is to make the lives of game sound designers much easier - allowing them to spend more time being creative and producing stunning game sound.


FMOD Designer Screenshot

Engine IntegrationsNew for FMOD 
Designer 2010
New for FMOD Designer 2010 is the FMOD Unreal Engine 3 integration. This is the deepest Unreal Engine 3 audio integration available and provides an unparalleled level of flexibility. FMOD also has integrations with the following game engines:
  • CryENGINE (FMOD is the default audio solution)
  • Unity (FMOD is the default audio solution)
  • Unreal Engine 3 (FMOD Designer 2010 features a deep integration)
  • BigWorld (FMOD is the default audio solution)
  • Vision Engine
  • Scaleform

FMOD Designer Screenshot

Graphical Bulk EditorNew for FMOD 
Designer 2010
New for FMOD Designer 2010 is a graphical bulk editor that allows you to easily tweak the properties of multiple sound effects at once. The bulk editor was designed with large projects in mind, and provides a bird's eye view that allows you to quickly survey changes across thousands of sound effects. This view is unique to FMOD Designer 2010 and was designed in collaboration with our users.
The bulk editor supports the most commonly used properties and provides a tailor-made graphical interface for each:
  • Volume & Volume Randomization
  • Pitch & Pitch Randomization
  • Reverb Wet & Dry Levels
  • Fade In & Out
  • Min & Max Distance
  • Rolloff Curve
  • Playback Behavior

FMOD Designer Screenshot
FMOD Designer Screenshot

Multi-Track Editor
FMOD Designer 2010's multi-track editor allows you to create complex layered sound effects - such as car engines, weapons, background ambiences and crowd simulations. Design sound effects that respond dynamically to game events. Use automation curves based on game parameters to control DSP effects and properties. You can also use game parameters to trigger different sounds within your sound effects - break free from the timeline!
Built-in DSP Effects
The multi-track editor supports the DSP effects built into the FMOD Ex API. Create effect chains, apply them to layers within the multi-track editor and use game parameters to automate effect properties. DSP effects include:
  • Lowpass & Highpass
  • Delay, Flange, Chorus
  • Tremolo
  • Distortion
  • Normalization
  • Parametric EQ
  • Pitch Shift
  • Compression
  • Reverb

FMOD Designer Screenshot

Audio Building Blocks
Create sound effects within the multi-track editor using reusable sound components - and share the components among different sound effects, saving memory and time. You can also use these building blocks to add variation and randomization to your sound effects - randomize between different source recordings or create sound grains and use granular synthesis for ultimate randomization. In addition, you can randomize properties such as volume and pitch - which is great for creating variation without using additional audio memory.

FMOD Designer Screenshot

Non-Linear Music Composition
FMOD Designer 2010's visual composition tool allows you to create music that responds dynamically to game events. Easily create complex compositions with branching structures - and visually design branching logic based on game parameters. This unique tool allows you to create musical transitions that may be as subtle as a key change or as dramatic as moving from one musical genre to another - you're only restricted by your imagination.

FMOD Designer Screenshot

Reverb Ambiences
Create realistic reverbs for your game environments using the high quality I3DL2 compatible reverb effect built into the FMOD Ex API. Choose from 26 FMOD reverb presets or create your own unique reverbs within FMOD Designer 2010.
Audition & Profile
Want to mix and optimize your game live - as you play?
Live Mixing
Using FMOD Designer 2010's network audition feature you can connect to and mix your game live. Tweak levels, effects, and properties for all game sounds while playing the game.
Live Profiling
FMOD Designer 2010's profiler allows developers to monitor levels, performance, and resource usage live. It provides a live visual representation of both CPU and memory usage as the game is played, as well as displaying the DSP routing within the FMOD Ex sound engine - this is especially useful when debugging and optimizing your game audio.

FMOD Designer Screenshot
FMOD Designer Screenshot

Sound Banks
FMOD Designer 2010's banks feature allows you break up your game's audio into groups to control memory usage and compression settings - for example you could separate your character sounds into one bank, music in another, and specify different compression settings for each bank. You can use the sample rate optimization feature to automatically reduce the size of your banks without reducing audio fidelity.
FMOD Designer 2010 supports exporting an extensive range of audio formats:
  • PCM
  • MP2, MP3
  • CELT
  • XMA
  • VAG
Deploy for Multiple Platforms and Markets
Speed up your development time with FMOD Designer 2010's ability to create and manage content for multiple target platforms and language markets within a single project. FMOD Designer 2010 supports Windows, Mac, Linux, Xbox 360, Wii, PS2, PSP, PS3, iPhone & iPad.
FMOD Designer 2010 was made to complement the FMOD Ex API. The FMOD Ex API is one of the most widely used audio APIs both within the video game development market and also in the fast growing simulator market. FMOD Ex API is highly optimized and extremely stable.

Friday, February 19, 2010

New Flash and Flex Developer's Magazine

I was informed recently by about this new magazine and thought I’d pass along the info. It’s really good for the industry and those looking to learn more about Flash and Flex. Check out FLASH & FLEX DEVELOPER'S MAGAZINE for yourself -