About nonlinearfood
The N.L.F. project (NONLINEAR FOOD, elements for new composers) was borne out of an encounter between three sound designers and electronic composers: Matteo Milani (http://www.usoproject.com), Lorenzo Brusci (http://www.soundexperiencedesign.com) and Beppe Mangione (http://www.fonogeno.com). All come from the Timet experience (www.timet.org), equally urged on by the desire to contribute a new approach to the use of sound for the audiovisual market.
Three distinct personalities that bring life to an elaborated sound spectrum that is elegant and primed to move beyond the clichés of cinema and television. Sound elements that walk the border between music, ambient sound and abstract acoustical synthesis, where the sound source is in constant mutation and has the ability to carry images to points outside the television and film screen where it seeks a psycho-emotional connection, a new physical world capable of forging new frontiers within multimedia interaction.
In other words, audio and video create an environment of constant interaction and perceptive antagonism in which one works to steal expressiveness from the other, moment to moment, scene by scene. A struggle that molds the spectator, an active participant in this dimension where content and medium are constantly renewed.
Four gigabytes of custom, absolutely never heard samples and sound effects, are organized in five main directories as follow: RHYTHMIC_TOOLS (electronic loops, e-percussions, vivid grooves), ELECTRO_SCENARIES (active drones, beat oriented textures), HYPER_DRUM_SET (one-shot heavy-processed claps, crashes, fills, kicks, snares), SURROUNDSCAPES (5.0 ready-to-go textures), DIGI_EVENTS (alarms, buttons, communications, telemetries, transitions). Matteo Milani produced the whole collection, together with Timet founder Lorenzo Brusci and Fonògeno founder Giuseppe Mangione. They have been spending hours composing, editing, mixing and mastering these categories with main platforms like Symbolic Sound Corporation Kyma and Digidesign Pro Tools. The team mastered a thousand of broadcast wave files (.WAV, acidized WAV), 44.1khz/24bit, compatible with all the Digital Audio Workstations and loop applications running on multi-platform operating systems.
