Over on (I’ve been there for more than 20 year…) bitzone posted the audio recordings of Édouard-Léon Scott de Martinville, a french inventor of the Phonautograph. The raw recordings are in the video below.

This stimulated my imagination a little bit, so I had to grab the audio and played around with it a little bit to come up with this little piece.

Those recordings let you hear things that are happening more in your head than in the actual recording. So I’m not going to spoil it and write any of the things that I’m hearing in those snippets. I hope you enjoy it as much as I did creating it.




The front page of today’s LA Times featured the headline, “Workers lead the resistance as AI risk emerges.”

The online edition uses the title, “Column: Your boss wants AI to replace you. The writers’ strike shows how to fight back”

From the article…

A big reason that the AI hype machine has been in overdrive, issuing apocalyptic claims about its vast power, is that the companies selling the tools want to make it all feel inevitable — to feel like the future — and have you believe that resisting it is both futile and stupid. Conveniently, most of these discussions eschew questions such as: Whose future? Whose future does AI really serve?
The answer to that is “Big Tech” and, to a lesser degree, “your boss.”
Matt Nicholas, a 30-year-old writer and WGA member, who was all too aware exactly how AI was going to be used by the film and television industry — not to replace writers, but to undermine them.
Too many executives in too many industries, such as entertainment, tech and journalism, recognize generative AI for what it is: an opportunity to wield leverage over already precarious workforces. There’s going to be a long, hard struggle, but it’s one worth fighting.
I liked this post on VI-Control by user JJP so much, I wanted to archive it here.

Opt out of agreements allowing AI to use your music to build more tracks for a production music library

I don’t have music in any of these libraries, so this is not about Envato specifically, it applies to all of them.

I would suggest to opt-out even though I am very well aware that of course it will not stop these type. of companies (or any for that matter) from implementing AI-driven content and catalogs.

But we don’t have to make it too easy for them.

“Composers/musicians using the website @AudioJungle by @envato to sell royalty free music – Envato have ‘updated’ – their T&C’s to **now have AI train on your items that you have authored and uploaded** You are opted in AUTOMATICALLY. Additionally, your items will now be licensed “in perpetuity” becuase an AI cannot ‘forget’ what it has learned. There is no mention of any profit share for authors from AI works derived from authors’ compositions. If you don’t want your items to be trained by AI, you need to remove them from the marketplace by June 1st. There is (currently) no opt-out available. While I appreciate AI is inevitable and some people will be embracing this, the immediacy with which @envato has gone about it while seemingly going against some of their core values is striking. I can’t believe they didn’t give authors a choice, and have only given 20 days notice to find an alternative. For those who might be dependent on income from the site, it puts them in a massive quandary, especially with the lack of time to find an alternate solution. It’s frankly shameful behavior. I’ve had an author account there since 2009 – which I will now remove. It kept me afloat during my early years in the industry. I also reviewed items on the site. This policy change and sudden implementation is disgraceful, and I’m now sorry to have been associated with @audiojungle and @envato in any way.”

Matrix 4: The Matrix Resurrections

The trailer is out now and we were added to IMDB so we can finally talk about what we worked on for almost 2 years.

It was a wild ride and one of the best experiences I’ve had professionally: watching Johnny Klimek + Tom Tykwer write and produce the music, several orchestra recording sessions at Abbey Road WAAAAAAHHH, one of those was before Covid-19 so I could actually be there in the studio at the session – double WAAAAAAHHH ), following the editorial and sitting with Lana Wachowski to put music to the pictures.

I’m extremely grateful for this experience.

Watching the trailer with a lot of VFX that I hadn’t seen during the editing process was very exciting. And I can honestly say: you ain’t seen nothin’ yet… 🙂

Mark your calendars, it will hit the theatres on Dec 22nd

Babylon Berlin – catch up on previous seasons before season 3 starts on Oct 1st

Working on Babylon Berlin was one of the best experiences in my professional life and Tom Tykwer really is wildly creative mind with an extremely sharp focus on drama. I’m so thankful to be a part of this.

Anyway, on Oct 1st 2020 season 3 will start, it has a great story arch that I enjoyed even more than the ones in season 1 and 2. Season 1 and 2 are available here until late January 2021!

“Babylon Berlin”: Europäischer Filmakademie verleiht Preis an Schöpfer

Das freut mich ja!

Damit werde einer Serie Tribut gezollt, die gleichzeitig ein leidenschaftliches filmisches Spektakel und eine präzise Darstellung der politischen und gesellschaftlichen Realitäten im Berlin der 1920er Jahre ist, teilte die EFA mit.

What I did the past year: Jett – Official Trailer

Last year Johnny and I started writing the first suites for Jett, a series about a female thief trying to make it in an ever more hostile underworld.
It was great fun and we wrote some interesting, fresh, funky and quirky music for it that I’m really proud of. Hopefully we will soon get to post some of that music as well. The music in the trailer is not ours as is the case with trailers most of the time.

Anyway, I’m very excited and the series premieres on June 14th already, so get your first screens ready and don’t bother to lock your doors, because Jett will get in.

Putting the music to the episodes was a delight, especially because both Sebastian Gutierrez (the show creator and director) and editor Matt Mayer where very clear and precise in their ideas and communication about the music, which can sometimes be a very tricky thing to put into words.

Kinostart 21.12.2017 Dieses bescheuerte Herz

Aus der (einstimmigen) Begründung der Jury der Deutschen Film- und Medienbewertung (FBW):

Auch die treffsicheren Dialoge, eine exzellente Musikauswahl und die souveräne Kameraarbeit tragen dazu bei, dass DIESES BESCHEUERTE HERZ sich seinen Platz in der Zuschauergunst wird erobern können – und das völlig zurecht.

Das freut mich doch sehr für Johnny Klimek und mich.

Es freut mich auch für die Produktion, die diese Geschichte sensibel und frisch gestaltet hat.

Am meisten aber freut es mich für Marc Rothemund, der es geschafft hat, eine dramatische Geschichte ernst zu nehmen und trotzdem einen leichtfüssigen Film erschaffen hat!