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Discover Weekly Archive 4

Best of Video Game Music

Indie Games Playlist

The Dark, Unquiet Ocean

Metamorphosis

Le Vol des Sorcières

The River

Travelers' Encore

Rams (Original Motion Picture Soundtrack)

Into the Highlands

Mass Effect 2 (Original Soundtrack)

Suicide Mission

Assassin's Creed 4: Black Flag (Original Game Soundtrack)

Assassin's Creed IV Black Flag Main Theme

Miracle of Sound - Beneath The Black Flag

Shadows Over Loathing (Original Game Soundtrack)

Works and Ways Unseen

Gustavo Santaolalla - The Last of Us

The Irish Rover

Tout va bien

Joie

Vale of Tears - Jason Tai

The Gentlemen (Soundtrack from the Netflix Series)

Sojourn For Jack

FINAL FANTASY VII Original Soundtrack

One-Winged Angel

The title from Outer Wilds - winner of the International Independent Games Festival 2015.

Outer Wilds

Vinyl 12'' & Digital OUT @ http://melting-records.bandcamp.com

With his second EP, ‘A Thousand Secrets’, Apanemic creates a mosaic of various sounds, reviving the music aesthetics in 60s-70s culture of Greece. Nostalgia clashes with fresh musical paths, elements that entwine together progressively as the EP unfolds, imitating the changing feelings of two lovers. Each track is part of a story. Each title matches the appropriate lyric from the original song sampled. Four tracks, a thousand secrets. A vicious circle as a foundation of a relationship.

The project truly resembles a crate digging exercise, since it focuses on records that have spent decades being out of the radar. To achieve this, Apanemic has used samples exclusively derived from the original vinyl copies, 33 and 45 rpm., from 50s to late 70s. Αbout 48 different vinyl records were utilized for the whole project.

Follow Apanemic 
www.facebook.com/apanemic 
apanemic.bandcamp.com 
@apanemic

Melting Records © 2016 
www.facebook.com/meltingrecs 
www.melting-records.bandcamp.com

Contact us: info@meltingrecords.com

FREE DL & Vinyl 12''

Apanemic - Blind Shot - MREP001 (OUT NOW - Vinyl 12'' & Digital)

The Grand Budapest Hotel (Original Soundtrack)

A Prayer For Madame D

W.E. - Music From The Motion Picture

Dance For Me Wallis

The Last of Us

Andreas Rönnberg - Calm

Rasputin

Rasputin (instrumental)

Assassin's Creed 2 (Original Game Soundtrack)

Ezio's Family

A deep house remix of The Elder Scrolls Main Theme 

I produced this remix with FL-Studio.

The original version is composed by Jeremy Soule

FREE DOWNLOAD

THE ELDER SCROLLS - MAIN THEME (DJ AG REMIX) FREE DOWNLOAD

Buy on iTunes

Nikogo Ya Ne Bousya (feat. KITKA)

Glass Island (Feat. Lacey Guthrie) is a Wax Fang single featuring Lacey Guthrie of Twin Limb, released October 27th, 2017. 

Publicity - John Graffo/Baby Robot Media - john@babyrobotmedia.com 

Management/USA Booking - Corey McAfee - mustachemanagement@gmail.com

UK / Europe Booking - Steve Zapp - steve@itb.co.uk; Amber McKenzie - amber@itb.co.uk

Glass Island (Feat. Lacey Guthrie) - Single

Glass Island (Feat. Lacey Guthrie)

Glass Island (feat. Lacey Guthrie)

The Shape Of Water

Elisa's Theme (From "The Shape Of Water" Soundtrack)

The Leftovers: Season 2 (Music from the HBO Series)

The Quality of Mercy

Miracle Of Sound - Skellige Winds

Epikus - Otar the foul

tl;dr—"Return of the Obra Dinn" is excellent, and I reworked part of its soundtrack as a strict 1-bit composition, mirroring its crisp, retro 1-bit graphics. Scientific description of some aspects in this paper: 
Working link: https://www.researchgate.net/publication/336915189_Generalizations_of_velvet_noise_and_their_use_in_1-bit_music
Original link (broken?): (http://dafx2019.bcu.ac.uk/papers/DAFx2019_paper_53.pdf)

"Return of the Obra Dinn" (2018) is a fantastic game released in 2018. Its creator, Lucas Pope, describes Obra Dinn as "An Insurance Adventure with Minimal Colour." The graphics are entirely 1-bit, meaning that each pixel of the screen takes on only one of two possible colors: light or dark (nominally white or black). This hearkens back to the visual display style of old computers with  monochrome monitors, like the Commodore 64 or Apple IIe, and gives the game a unique and beautiful aesthetic. To represent grayscale values, Pope uses a technique called spatial dithering. Cleverly, he actually deploys a variety of dithering algorithms (including sometimes suppressing the dithering entirely) to differentiate textures in the game.

As a cover and tribute, I've rearranged part of the game's original (rollicking, acoustic) soundtrack—part of the music from the "Unholy Captives" chapter—in a 1-bit *musical* style. This not only mirrors the 1-bit graphics of the game, but mimics the 1-bit "beeper" audio capabilities of many early computers like the Apple IIe and ZX Spectrum.

1-bit music poses a unique compositional challenge. First of all, there is no signal amplitude control, making volume control difficult. Furthermore, in the 1-bit domain, addition of 1-bit signals does not properly exist. This is because certain values can be added (0+0=0, 0+1=1, 1+0=1), but the operation 1+1=2 cannot, since "2" is forbidden! Strictly speaking, this limits polyphony to one sound. Working around these limitations to produce music that is not monotonous and can express chords, layering of multiple instruments, and convincing audio effects becomes quite the task.

In this track, I manage to coax up to 6 layers out of the sound at once: bass, a three-note chord, a melody, and percussion. Part of the trick is just interlocking parts in the arrangements—here, for instance, the bass and chords rarely play at the same time. But in general, there are moments where up to 6 sounds have to be expressed with only 1 bit. The layers are mixed using a custom XOR-plus-error-feedback 1-bit mixing engine, combined with judicious use of thin pulse widths, custom 1-bit wavetable synths, and a special kind of sparse noise that can be XOR'd with signals without overwhelming them. Furthermore, the melody employs what I think may be a novel feedback delay effect that operates entirely in the 1-bit domain to give a sense of space to the track. This is mostly a note-for-note cover of Lucas Pope's original—involving elaborate 1-bit trickery in the sound synthesis, arrangement, and audio effects—but I did take one small liberty: an extra half measure of percussion added just before the start of the final phrase at 0:39.

The special sparse noise sequence is called "crushed velvet noise" and is described in my 2019 DAFx paper "Generalizations of velvet noise and their use in 1-bit music," available here: http://dafx2019.bcu.ac.uk/papers/DAFx2019_paper_53.pdf.

I've deviated from a strict 1-bit construction in just one way—The entire track was processed through Plogue's Apple IIe impulse response to make it sound like it is coming out of a real Apple IIe speaker, rather than being a "raw" stream of zeros and ones.

"Unholy Captives" from "Return of the Obra Dinn" (Lucas Pope, 2018): a 1-bit cover/tribute

Fog Intro

Outer Wilds (Original Soundtrack)

14.3 Billion Years

Timber Hearth

Mass Effect 2 - Suicide Mission

Eclipse

Artist: Greg Edmonson 
Title:  Nate's Theme 3.0 
Album: Uncharted™ 3: Drake's Deception Original Soundtrack

Greg Edmonson - Nate's Theme 3.0 (Uncharted™ 3: Drake's Deception Original Soundtrack)

Cerebrawl - Laura Shigihara (played on piano in an empty auditorium).mp3

My first ever real try at "Wave" music. This isn't my normal "Trap" upload, but I wanted to try another genre for fun. I have been a huge fan of Assassin's Creed since I was 10 years old. I always wanted to make a remix of this song. I remixed this theme 3 years ago, but I have improved a lot since then. Hope you all enjoy it! <3

Jesper Kyd - Ezio's Family (COSTE Remix)

Uncharted 3: Drake's Deception (Original Soundtrack)

Nate's Theme 3.0

Pimp Master

Suffocation

Dr. Kurt James Werner is a Lecturer in Audio at the Sonic Arts Research Centre (SARC) of Queen's University Belfast, where he joined the faculty of Arts, English, and Languages in early 2017. As a researcher, he studies theoretical aspects of Wave Digital Filters and other virtual analog topics, computer modeling of circuit-bent instruments, and the history of music technology. As part of his Ph.D. in Computer-Based Music Theory and Acoustics from Stanford University's Center for Computer Research in Music and Acoustics (CCRMA), he wrote a doctoral dissertation entitled “Virtual Analog Modeling of Audio Circuitry Using Wave Digital Filters.” This proposed a number of new techniques for modeling audio circuitry, greatly expanding the class of circuits that can be modeled using the Wave Digital Filter approach to include circuits with complicated topologies and multiple nonlinear electrical elements. He composes electro-acoustic/acousmatic music including elements of 1-bit, chiptunes, musique concrète, circuit bending, algorithmic/generative composition, modular synthesis, and breakbeat.