Composer Interview: Wilbert Roget (Mortal Kombat 11) designingmusicnow.com/2019/1…
Audio Middleware: Why Would I Want It In My Game? designingmusicnow.com/2019/0…
The Interactive Music In Capcom’s Devil May Cry 5 designingmusicnow.com/2019/0…
ORCHESTRAL REVIEW SERIES – Bernard Herrmann Composer Toolkit by Spitfire Audio (in 2019!) designingmusicnow.com/2019/0…
NEWS – JunkieXL Brass Library – Crowdsourcing A Wishlist youtube.com/watch?v=JOU4ZViD… designingmusicnow.com/2018/1…
Adaptive Music with Elias – Tutorial Series – Part 1 designingmusicnow.com/2018/0…
NATURE OF ALL THINGS – A World Music Orchestra Case Study designingmusicnow.com/2018/0…
Audio Design for Interactive Narrative VR Experiences designingmusicnow.com/2018/0…
NEWS – SF State School of Music and the Game Audio Institute : HANDS ON GAME AUDIO INTENSIVE designingmusicnow.com/2018/0…
REVIEW of New Realities in Audio and INTERVIEW with Stephan Schütze and Chanel Summers designingmusicnow.com/2018/0…
Studio Time with JunkieXL – The Music of Tomb Raider – 4 Part Video Tutorials designingmusicnow.com/2018/0…
From Linear to Adaptive: A Deeper look into Elias Studio 3 MIDI Capabilities designingmusicnow.com/2017/1…
From Linear to Adaptive – How a Film Composer fell in love with Adaptive Music designingmusicnow.com/2017/1…
NEWS – Elias 3 Released – Adaptive Music Engine Elias Releases Biggest Update Yet designingmusicnow.com/2017/1…
Composer Interview: Chance Thomas (Lord of the Rings Online, Avatar) designingmusicnow.com/2017/1…
How Commercial Sample Libraries are Made designingmusicnow.com/2017/0…
Composer Interview: Gareth Coker (Ark, Ori and the Blind Forest, and Minecraft) designingmusicnow.com/2017/0…
RT @gamasutra: Firelight Technologies, creators of the FMOD, announced formal partnership with Somatone gamasutra.com/view/pressrele… #gameaudio
NEWS – Exciting Lineup at Casual Connect Seattle – August 1st, 2017 designingmusicnow.com/2017/0…
















