I’m honored to be a part of the flagship episode of “Good Job,” a new Revision3 show about jobs in the game industry. This episode is all about Wabi Sabi Sound, a boutique game audio company where I’ve been composing music for about 6 months. The episode is mostly about game sound design but also touches on composing, which is where I come in. Enjoy!
(You can learn a lot more about Wabi Sabi Sound at our web site here.)
I’ll be honest. I don’t always dig other violinists’ “power moves.” By which I mean to say, the way that violinists move when they play often makes me feel funny on the inside. I guess I’ve always identified more with guitar players than other fiddlers (all the Jacks — Black, White, Bruce — I’m looking at you!). Power slides — and stage dives into the drum set — speak to me more than whatever it looks like when the average classical violinist starts to rock out. (Sorry, other violinists! How’s it going under that bus? Can I, erm, get you some water?)
Lindsey Stirling, however, tickles me differently. There’s a pixie-like charm, a genuine happiness that exudes from her as she struts her stuff in a real-life ice castle in Colorado. Riding atop from a well-produced dubstep bed, she busts some straight-up ballet moves, yo! Much respect, Lindsey, for pulling off some serious dance moves while seemingly keeping the groove up. (Admittedly, the video is a clear violin sync — her pickup isn’t plugged into anything.)
Lindsey, keep up the rockin’ videos (seriously, the cinematography is great in this, too). If you’re ever in the Bay Area and want to rock out with your violin out, hit me up and we’ll plug into some amps and crank ’em up to at least 1.5.
I wrote and recorded this tune yesterday with San Francisco TV composer John Mazzei. John’s a great guy, and amazing to watch at his DAW, editing scores with the greatest of ease. It was lots of fun to work with him, and I hope we get to do it again soon! Until then, enjoy our new cue, “Grey Wolf,” inspired by visions of spacious arctic landscapes.
Yeah, me too. But don’t beat yourself up too much about it. According to Portland author and my new favorite non-conformist Chris Gillebeau, it’s a human condition. Boy, does he have my number in this post. I have spent so much time delaying making big decisions to help me to achieve what I want in life, I prefer not to think about it. I’ve been working lately on not beating myself up, and this exact subject is sure fodder for such activities, so this post did trigger me a bit. Witnesseth the cause of my discomfort:
Compare yourself to others. Instead of thinking about how everyone
The topic of originality has loomed large in my head lately. I recently undertook a challenge to produce two 3-minute pieces of original music by October 31. I failed to meet that commitment, failed pretty hard in fact. The most challenging aspect of this endeavor was the fact that these songs were to be my own art, not made for or with another person. (I am a composer by trade, and have collaborated in many bands, so making music with or for other people comes naturally. But I have never made much art that is strictly mine.)
What came up for me as I toiled for long hours in the studio, hunched in front of the computer and not having very much fun, was the desire to be original. Not just to create an original-sounding piece or to have my material judged as original in the aggregate, but to embody originality in my work down to the finest possible granularity. Every part of every song would need to sound like no other part of no other song ever made! (Don’t worry, as this sounds as preposterous to me as I write it as it does to you reading it.)
When I first found this video, I was chasing video links watching various badass rock drummers do their thing. Danny Carey, Neil Peart, Stuart Copeland, all my faves. Then I hit up Meytal Cohen’s videos of her covering badass drum parts. At first, the drumming was almost too perfect for me to believe that it was really her playing. But by the end of the first video, I was convinced. Meytal Cohen is a badass rock drummer. I’m not sure if she writes her own stuff, but I’d sure love to hear it.
How is this related to violin? Don’t worry, it’s coming. I picked this video because I love System of a Down, and wanted to see a drum video of Toxicity. What I didn’t realize is that two other badass women, Christine Wu (of LA Strings — she’s got enormous industry cred and is very nice to boot) and Jennifer Lynn (of Violution) would be accompanying on electric violins. I’ve met Christine Wu before at the Taxi conference, but I didn’t know she rocked this hard! Anyway, the cover is a really rockin’ version of this song and has a place in my metal and violin hearts.