Feel free to use my music for your project if it's not for commercial purposes--just credit me by name and URL (unless it's music that's already been published elsewhere. In cases like that, it'll be specified in the track description). If your project is for commercial purposes, then we can negotiate a fee for the use of my music. If you want to hire me as the composer for your project, then that's something we'll have to discuss in detail.

Yes I can. e-mail me and let's talk. (you could also check out my other website bobsongs music for media www.bobsongsmusic.com ) In the first instance I would answer yes to that question. However, it would depend on the artist/band, the material (songs), and of course, the location - I would love to come to Nashville/Seattle/Vancouver etc, but you'd have to pay me big bucks! If you're based in East Sussex/S.E.England, it can be done. e-mail me all the details and we can discuss. Yes I would.

Yes. According to a July 1994 article from the Newark (NJ) Star-Ledger, Yanni enjoyed composing the WNN theme and would like to do more soundtracks. However, no compositions from WNN are played during Yanni's "Live At The Acropolis" concert. [11] We do not know about other concerts in which WNN music may have been performed. Although asked in an interview by Asha Blake about "updating" the theme music, there is no evidence at all that any such "updating" is planned.

Richard Bartle, author of 'Designing Virtual Worlds,' says that most players are not good designers. If designers can't be players in the same way the "rest of us" are, what does that say about game design? "

It's your chance to stop talking and start filming! The premise? Filmmaking teams have just one weekend to make a short film. All creativity—writing, shooting, editing and adding a musical soundtrack—must occur in a 48 hour window beginning Friday evening at 7 and ending Sunday at 7. The following week, the completed films are screened to an eager audience.

I always designed my own sound tools, but I also use commercial software. Our current sound tool is called "MusyX" and is an editor environment for the complete sound data of a game. For composing and sequencing I use Steinberg Cubase SX & VST and my main sample editor is Wavelab.

You might have heard of Amiga emulators such as UAE (WinUAE, WinFellow, etc.) that are nowadays available for most platforms. Once you have installed the software and ROMs you can load Sound/Noise/Protracker and start composing. If you didn't know, we can reveal that all the latest Amiga chiptunes from 4-Mat were composed on an emulated Amiga. Ant it works fine, really!

I don't really care anymore how you label it. Even though my background is mostly with the industrial music scene, I have also played at rave, noise, breakcore, ambient and experimental music events.

Landy on guitar and effects was the first with whom I started to experiment to transform some poems into songs, that was in 1996/97, where I developed my spoken word performances; (there exists a really experimental CD with a lot of dynamics where he plays crazy guitar effects, while I cry, scream and shout; at that time Arsene de Souza got both of us into playing percussions what I did very well as a kid in ballet, but this time 't wasn't any more Carl Orff but African polyrhythms, on Drums and.

I have composed pieces for several weddings, as well as my own wedding. If interested in commissioning a piece, please contact me. For sound clips, click here.

Great! Please contact us with details of your project. For school projects/demo work/non-profit work it's usually just enough with an email for permission. If your project has commercial interests you'd need to talk to my publisher to negotiate usage terms and eventual fees. We'll put you in contact with the publisher if needed.

Due to the overwhelming response we have received in recent months to our various entertainment initiatives, we regret we are no longer able to accept unsolicited material. Any unsolicited material received will not be opened, and will be discarded. No response will be given.

There are a few places you should check. First off try looking it up in the Soundtracks Database (http://www.digiweb.c om/~ellenbe/srch-example.cgi) accessible via our home page. This will tell you if it at least exists on an album. There is another great new site developed expressly for this purpose: www.soundtrackcollector.com. You should also try looking in the catalogs of various mail order dealers such as www.intrada.com and www.screenarchives.

The project began in Washington, DC in 2001, and in 2007 we visited 55 cities. In 2008, we'll be in even more places. (See all of our cities here.) Filmmakers just can't get enough of the 48HFP!

Yes, this is OK unless you want to put samples created with Atmosphere directly encoded into the game. That requires an additional license. No. It's very important to know that each composer must have his or her own copy and license for Atmosphere. We make regular checks to verify that large production studios have obtained the proper licenses for our instruments and sample libraries. No. The standard license to use Atmosphere is only granted to the buyer.

Yes, this is OK unless you want to put samples created with Trilogy directly encoded into the game. That requires an additional license. No. It's very important to know that each composer must have his or her own copy and license for Trilogy. We make regular checks to verify that large production studios have obtained the proper licenses for our instruments and sample libraries. No. The standard license to use Trilogy is only granted to the buyer.

I've implemented an internet radio player into the game with about 20 different channels for you to listen to.

With the exception of the photos with a 0700-0950 product code, all of the film is print. That small section of the collection was taken on slide film (and most of those shots were taken prior to 1990). Don't be surprised if some of the photos were taken of places no longer in existence; example: #802-Berlin wall, #0923-Lucayan Beach (Bahamas) lighthouse and, of course, #0500-World Trade Center.

The Project Opus "Top Music" Charts are a daily listing of the most active songs on ProjectOpus.com. Each song is "scored" on a daily basis. This score, in conjunction with other factors, affects when it will make it on the music charts. Things that affect a song's score include:

Yes, you can put your own .mp3 files in the game for the menu music. Just put one or several .mp3 files into the "Music" folder in F12002 or F1C. The game will automatically cycle through multiple files.

Yes. There are a number of excellent contemporary composers working within the Sacred Harp style, including one of our own singers here in the Shiloh group. There are beautiful hymns being written in this musical tradition today. These modern compositions still fit within the well-defined and traditional concepts of Sacred Harp music.

There is an Assets List (http://www.projectxenocide.com/artassets/assetlist.html) for the art department, cataloging the various models and textures being used, as well as the technical requirements for them here. There is a scale reference model here. The fonts used in the game and concept art are gotthard and OCRextended.OCR is a system font present in Windows and gotthard is available as a part of the Xenocide download. It is also found here (http://www.xcomufo.com/forums/index.

You cannot use music that you don't have specific permission from the artist to use. You are responsible for obtaining permission for any music usage that might be in question prior to the submission of your film. This is in the Terms and Conditions under "Video Submission Requirements." For more information on obtaining legal copy rights for music, please visit http://www.copyright.gov/title17/. You will likely need to create your own, original score for the film to be accepted.

Normal addition of music to the background of silent film or video and slideshows is the selection of one genre. You will receive a looped selection of Royalty Free Music for that genre. We offer placement of clips from multiple genres throughout the film or slideshow to coordinate with the viewed activity, using the editors best discretion. This process does not alter originals in any way. All editing is done digitally, and only affects the transferred copy only.

Yes. Year 3 students have an option in 'Scoring for Film' available to them. Composition and/or Computer Composition can also be taken through the three years; while these are not specifically aimed at creating music for screen, they would equip any budding film composer with high level skills in both acoustic and computer-based compositional methods. Year 2 students can opt for 'Music and the Moving Image', which focuses on film scores and allows scoring options as part of its assessment.

Screen music is a specialised area of music and competitive. If you submit it to us (see FAQ on Demos) and we feel it has potential, we will get back to you. Be aware, though, that music filmmakers prefer to have their music created specifically for their film or television production. There may be some potential for your music to be made available for licensing but, again, it is a very competitive area.

Any song that is freely posted on the web can be added. You are not allowed to link from sources that are infringing on copyright or ownership of the song. See the Import Music Agreement.

Click and drag the thumbnail of the media element(s) from the center window and drop them on empty slides in the right most window. In the Send To field enter the recipients (up to ten mobile numbers or valid E-Mail addresses separated by commas) of the message.

You can compose your own message to be sent out when inviting your participants. SurveySiren lets you insert substitution tags in your message for inserting the link to the survey, the first name, last name etc. to your message. SurveySiren will substitute the tags with the appropriate values which sending the emails.