A Quote by Kurt Ralske

I was a musician who began playing with computers, to see if they could make some tasks simpler. I developed some "tricks" or strategies for working with audio files, and then discovered that the same tricks could be applied to video files, or really, any type of data. Previously I made many different kinds of music. I did some work as a composer of film scores. In that role, my task was to create audio to match and deepen the visual. In my work now, the role is often reversed: I have to create images to match and deepen the audio.
I am a musician who stopped working with music. Now I work with visual music, or audio-visual music.
I think it's pretty obvious to most people that Napster is not media specific, but I could see a system like Napster evolving into something that allows users to locate and retrieve different types of data other than just MP3s or audio files.
At the same time, one of the things I noticed was that the moment there was any kind of audio attached to virtual reality, it really improved the experience, even though the audio didn't feel like a sound engineer or composer had been anywhere near it.
Yes, for me audio-visual performance has its roots in my experience working as an improvising musician and composer.
We conduct a safety review of all images, audio, and video files through a combination of human review and machine detection prior to them becoming available on our platform.
I work with digital audio, which is like sculpting, a form of chiseling down metal or wood. And I take audio and move it back and forth between the analog and digital realms and work with it almost like a plastic art until it takes forms in different shapes. And I use those figurines that come out of that type of work.
I think that being a film composer, someone that gets it and actually applies the music, it allows you to open up a spectrum of feeling. You're now allowed to approach the music from an audio visual perspective.
I noticed a lot of bands always having a few people in the band being interested in recording and audio production, so I got the idea to create products that would appeal to them. Rather than create tools that only engineers could understand, I designed tools that any musician could use and get instant great sounding results.
It's made music more accessible with YouTube and the ability to trade audio files. But it hasn't made it more popular.
I'm a huge fan of voice memos. I put down many ideas there and sometimes I even use some of those audio files in my actual recordings. You get this really raw energy from voice memos that you can't get when you sit down in a studio with a microphone. There's this sense of immediacy, which I'm really drawn to.
It's harder to make real audio than special effects audio.
That is, we are bombarded by all kinds of images and influences and we have to fend some of them off if we're to take in any of them, or to carry through just our ordinary day's work, or really deepen whatever we have to do or say.
Human beings are really attuned to their senses. When you work in film, you are working with the visual and audio senses. An understanding of tactile and other components that go into the creation of those objects are important to making them look real on screen, like a plasma of energy.
I have an audio stigmatism whereby I hear things wrong - I have audio illusions.
Some people like the off days to do a light practice or work on things and then get ready for the next match. I don't mind going out and playing a doubles match and working on returning serving and working on a few things.
Podcasts, and the way they are distributed, are extremely simple technologically. Indeed, 'RSS,' the feed protocol that connects podcast apps to the audio files that they need, stands for 'Really Simple Syndication.'
This site uses cookies to ensure you get the best experience. More info...
Got it!