Sentences with phrase «for synths»

The latest equipment news & rumors for synths, recording and synthesizer.

Andreas Waldetoft, the in - house composer, on the new tracks for synths included in the upcoming story pack

Renn Macdonnel Hawkey, born on March 29, 1974 in New York, was the synthesizer player for the synth - pop band Deadsy.

The earbuds also have an affinity for synth tones, offering buoyancy in analog pad tracks and swelling attacks from Nord and Moog synthesizers.

Not exact matches

Laced with nods to «80s synth pop and big ballads that show off their vocal range, the album is a standout, even on a label known for showcasing groundbreaking artists.

Rock N Roll Vintage is your one stop shop in Chicago for new guitars, vintage guitars, Chicago guitar lessons, guitar pedals, and we are currently the largest synth dealer in the Midwest.

She has over 90 academic publications and has held several leadership and advisory positions, including Chair of the Gordon Conference on Science and Technology Policy, Secretary and Council Member of the Society for Risk Analysis, the European Commission Expert Group for Science in Society and the EU's «SYNTH - ETHICS» project, the FDA Blood Products Advisory Committee, and the UN WHO - FAO Expert Group for Agrifood Nanotechnology.

As you can hear the song is more the typical 80s synth - sound with our mandatory allures for cinematic, score-esque atmosphere.

Beautifully shot in 35 mm by the gifted Ben Richardson (Beasts of the Southern Wild) to a hypnotic synth score by Dan Romer, Digging for Fire goes to the tantalizing edge of revelation and leaves us there to filter what we saw through the prism of our own strengths and weaknesses.

For all of its carefully executed, cool style, soundtracked to a retro synth score and ironic music cuts, «Revenge» is intensely raw, a violent and hallucinatory acid trip for the senses that asserts a feminist perspective in this historically exploitative and misogynistic genFor all of its carefully executed, cool style, soundtracked to a retro synth score and ironic music cuts, «Revenge» is intensely raw, a violent and hallucinatory acid trip for the senses that asserts a feminist perspective in this historically exploitative and misogynistic genfor the senses that asserts a feminist perspective in this historically exploitative and misogynistic genre.

Some of the tracks cry out for a bar or two to be spat over, but when you hear that hollow synth on Teeza's «Rum And Coke», you'll be sold on the grime renaissance.

Director Johannes Roberts begins the film with a synth - infused version of Kim Wilde's «Kids in America» and retro title styling, letting the audience know what decade of horror we're in for, even if the characters are blissfully unaware of what's coming.

There are feints toward a bona fide mystery plot, but that genre element is just a pretext for a stealth marital drama, held together through strong improv, tight editing (by Swanberg himself), moody cinematography and a synth score (from Dan Romer) that parties like it's 1991.

,» hosted by Brendan Byrne, looks at what's next for humans exploring space, indie rock group The Decemberists reaches past its roots toward modern synth - pop with its new album, «I'll Be Your Girl,» and more top picks.

But the band's best - known work came in collaboration with giallo king Dario Argento, and while we love their droney, synth - tastic «Tenebrae» work (sampled by French electro titans Justice for their track «Phantom»), their finest hour is unquestionably via Argento's best film «Suspiria,» about an American ballerina (Jessica Harper) tormented by a witch's coven.

For some soundtrack fans, it was a bit of surprise to learn the composer of pioneering synth scores had begun his career with large orchestral scores for John Boorman's Excalibur (1981) and Jim Henson's The Dark Crystal (1982)For some soundtrack fans, it was a bit of surprise to learn the composer of pioneering synth scores had begun his career with large orchestral scores for John Boorman's Excalibur (1981) and Jim Henson's The Dark Crystal (1982)for John Boorman's Excalibur (1981) and Jim Henson's The Dark Crystal (1982)...

It's little surprise how Gridiron Gang sounds, either, with a big theme pounded out by orchestra augmented by plentiful synths, and softer Thomas Newman - ish piano music (a style previously heard in Rabin's National Treasure) for the inevitable tender moments.

Nina Simone Nominated for the Rock and Roll Hall of Fame — Finally — Spencer Kornhaber analyzes this year's list, which spans gospel and synth - pop, as well as overdue inclusions and new shoo - ins.

Shot with a painterly genius for night lighting (all muted greens and blues) by Adam Greenberg and scored with an insistent throbbing by Eighties synth group Tangerine Dream (who provided a similarly effective score for Steve DeJarnatt's criminally underseen Miracle Mile), this pair of moments makes up the backbone and the soul of the film: the one serving up the drug theme, the other that feeling of consumptive eroticism.

Paul Leonard - Morgan's soundtrack is great — a mix of throbbing early 80s synths and guitars — and is more than a match for Geoff Barrow's and Ben Salisbury's «Drokk» album, which was inspired by the same comic and released earlier this year.

But credit the director (and key collaborator Vangelis, who stirred the synths) for envisioning it all in a glinting, glitzy valley of self - regard, where women in nightclubs wear veils and humanity mourns itself.

Just as Goblin was key to the success of Argento's best work, Simon Boswell's synth / electronica score for StageFright is, apart from Soavi's visuals and film - smarts, the movie's MVP, and it's given full breadth in a dynamic lossless presentation.

As my friend and fellow critic Andrew Barker points out, this is glaringly true in the scene where Dre «comes up with» the synth riff for «Nuthin» But a G Thang»; also, Dre's history of violence against women has been omitted entirely.

It wraps up so neatly with 80s synth pop and indie rock playing in the background, it's as if Lifetime tried making something for early - 2000s Sundance.

That somebody is David Robert Mitchell, who nailed the «70s and «80s slasher feel with long tracking shots, a synth score and a plot to scare you off sex for life.

Steve Moore is half of one of my favorite bands, Zombi, known for their heavy bass and trippy synth sounds that pays respects to artists like Goblin or Fabio Frizzi.

Kicking off with a Grindhouse style clip of a zombie film with a synth soundscape that would make filmmaker John Carpenter proud, it's clear that «Paranorman» is made by people with a love for the macabre side of movies.

«Skydive» almost makes up for the shortcomings of what has gone before - synths are still there, but it's music conceived for specific electronic textures (rather than fake orchestra) and - at last - the orchestra does break free for a while.

The late and seriously under - appreciated composer Michael Small wrote one of his best scores for the film, providing some stirring symphonic passages and atmospheric synth material.

Each Blade composer has had to balance his scoring chores with songs cemented to key scenes and montages: Mark Isham went for a brooding synth and orchestral blend that managed to smoothly weave in and out of the pumping songs laid over the main battle sequences; and Marco Beltrami's large orchestral score was tweaked by Danny Saber and buoyed by a similar number of songs.

An interesting moment is when the chorus comes, nearly every instrument drops out except for a beautifully dissonant synth pad and Mary Elizabeth McGlynn crooning out the lyrics.

In a year where 80's retro electronics are all the rage when it comes to the sci - fi throwback realms of «Stranger Things,» leave it to Matthew Margeson to salute to the era's days of sports - ready synth glory with this run down the slope of power - pop electro artists like Harold Faltermeyer, Bill Conti and Vince Di Cola Margeson also layers on inspirational strings for his tribute to The Day's most unlikely Olympic ski champion of them all.

For THE DREAM CHILD, Jay Ferguson delivers a synth - heavy score with nods to fairground music and layers of church organs and weird choral samples.

-- The Guest One of the best movies of 2014, The Guest is a badass synth - driven trip into a hyper - realistic world that would make John Carpenter proud, set during the days leading up the big Halloween dance, featuring not only substantial seasonal imagery but also thematic elements of identity versus disguise that lend well to the holiday, the highlight (for me) is a climactic visual homage to the Silver Shamrock masks from Halloween III: Season of the Witch.

Her influences are often worn on her sleeve, for example «Make Me Feel» is pure Prince (Monáe's mentor had a hand in the synth lines before he passed away), while «Take a Byte» is a Janet Jackson - flavored groove (Monáe has always had a joyous Jackson family quality to her vocal).

It alternates between a synth - heavy»80s TV movie sound, elevator jazz music, and a recurring instrumental that seems to lay the groundwork for Randy Newman's «You've Got a Friend in Me.»

He fills The Neon Demon with synth - heavy electronica and a dash of Sia for good measure.

Swaddled in Angelo Badalamenti's gorgeous synth score, with foreboding bass - thrums occasionally making way for a recurring, cascading piano theme of faltering heartbreak — soaring into lonely, plaintive high notes before falling back into a busier, lower register of despair.»

, and Giorgio «Electric Dreams» Moroder's synth - laced soundtrack is at - times absolutely appalling (the music that plays when Tony claps eyes on Elvira for the first time is so thick with cheese that it becomes off - putting and laughable).

It reminds me a little of Thomas Newman's grungier scores, and indeed some of the synth writing is just a little reminiscent of Cliff Martinez's bleepy score for Traffic (though this score is on a different plane altogether).

The music he created as the soundtrack to the Back to the Future trilogy remains, quite possibly, my favorite score ever set to film, while later works included the synth - heavy Flight of the Navigator, the sentimentalism of Forrest Gump & Cast Away (both part of his continued collaboration with Future director Robert Zemeckis) and more recently, heroic themes composed for Marvel's Captain America: The First Avenger, The Avengers and the upcoming Avengers: Infinity War.

While not necessarily retro as such, Haijian's sleek synths call to mind Jan Hammer's work for the exploits of Crockett and Tubbs in building a world where pastel - colored style masks murderous depravity.

Closing with the video evidence we've long been promised, Denis lands on not justice but its demonic parody, as blurry images of the family's grotesque home movies, in a manner of speaking, play out against the arpeggiated synths of Tindersticks» «Put Your Love in Me,» a kind of nightclub anthem for the undead.

Rich and strange Cameron Crowe's directorial debut may be remembered for That Scene With the Ghettoblaster, but there's so much more to it than moody John Cusack and his synth - scored adolescent angst.

Bronson was an unbridled beast, as evident from director Nicolas Winding Refn's blistering opening salvo, a character - defining blood - red depiction of Peterson pacing side to side, naked and covered in filth, inside a cage, his fury rising as he psyches himself up for forthcoming fisticuffs, which in Bronson typically arrive in slow - motion and staged to crashing classical music and opera or»80s synth - pop like the Pet Shop Boys» devilishly appropriate «It's a Sin.»

The change in tone isn't radical, but it's still pervasive; while Hans Zimmer scored Howard's previous Brown adaptations with generic strings, here he goes for faux - vintage synths that occasionally sound like James Horner's score for Commando, minus the steel drums.

December 15, 2017 • The dripping synths that open Charli XCX's new mixtape sets a subdued mood for the absolutely guest - packed POP 2.

Mitchell effortlessly combines the slick, mounting dread of classic John Carpenter (the score is classic Carpenter synths updated for a chiptune generation) with the modern sensibility of character driven independent cinema to breathe new life into stalker horror.

Highly stylized and reminiscent of B - movies from that era, the color palettes are often a sickly green with a dated synth music score (of the sort Carpenter's films were noted for) on the soundtrack.

In his commentary for Cat People, director Paul Schrader described the Oscar - winning composer as an eccentric of sorts; appearing with a huge tape library of pre-recorded sounds, synth beats and emulations, which were multitracked and mixed down by Moroder for that film's final soundtrack.