Wins On Ice

 

By a music project is meant a creative work of turning an idea into a finished product like a song, album, show or event of different kind. If you feel that you are part of it and want to participate in studio's projects then contact us.

 

We have many prepared songs with original lyrics and music and mostly with finished arrangement, which are ready-to-sing or play. Each instrumental part is usually written using music notation, so that if you are a musician you can start with playing your part or you can improvise to a playback. If you are a singer you can start with singing either alone to a playback or in a band. If you are a band then you can play and sing our material all by yourself. At the very beginning it’s often hard to say, what will match better -a solo project or it will make more sense to start a band: this style or maybe another one or fusion? So we usually try this, that and the other. Then we decide together how we will go further.

 

We start working on free basis first in a rehearsal room and play and sing some songs, or just sing to playback music. When the songs start sounding great we proceed to recording, organizing combined concerts, shows and participating in different events. If at this point of time the project will show some commercial potential, we will try to join the market and commercialize the idea into marketable records and performances. Successful commercialization along with the developing an effective strategy for a relevant and of long standing cooperation based on success is our goal.

 

We have the music material in English, German and Russian and in different genres. So there is the widest breadth of opportunities. On the same terms we are looking forward to cooperating with sound engineers, music producers, promoters, recording engineers, composers and song writers. If you will bring something new, something unique, something of your own – that is gladly very welcome and what we encourage and are looking forward to.

 

Dreams do come true. But quite often not immediately, so you usually have to go step by step to meet them halfway. Everything is up to you… The music project studio 'Wins On Ice' will show you the way…

 

- goto top -

 

 

A soundtrack supports usually a given storyline. It can be a video, an advertising clip, or a trailer. The idea for a soundtrack is based on a story and should be easily recognizable and represent that what is happening. Usually the main source for inspiration for a soundtrack is the story itself. Many aspects which not completely arbitrary should be considered like timing, rhythm, loudness, speed, duration etc. A storyline specifies the soundtrack and not vice versa.

 

- goto top -

 

A process called digital sound synthesis involves principles and algorithms to produce sound using different digital sound sources like oscillators, noise generators, etc., by sending them through varied signal flows including filters, envelopes, effects, modulation, amplification sections and so on.

 

The studio focuses on producing samples using low-level programming and precise controlling of distinct signal flows by using non-typical inputs, sound sources and sound waves.

 

The key features are:

 

- sound-generating algorithms

- machine learning and AI based models

- granular synthesis

- component and physical modeling

- hybrid methods.

 

Each sound is original.

 

- goto top -

 

Video game music (VGM) accompanies video games and is, usually, changing depending on actions and scene. It also can be some jingles at the beginning of the game or game trailer music or endings.

 

Depending on technology the studio offers:

 

- VGM limited to sound chips (known as chip tune)

- VGM limited to code size (e.g. for competitions)

- Program code that generates MIDI-Sequences of given length (low memory allocation)

- Program code that uses AI and machine learning algorithms to generate music.

- Algorithms and systems that produce music that is ever-different and changing (Generative music) controlled and/or affected by external parameters like speed, game scene, collisions, actions etc.

- VGM composed soundtrack-like (regular technique and instruments without coding)

 

All video game music is original and for commercial or open source use.

 

- goto top -

The process of preparing a figure skating program usually starts with choosing the music. As everybody knows, music is an integral part of any figure skating program. A musical composition gives a program its name and this is a secret we keep until just the right moment.

 

My concept is based on originality without going beyond the boundaries. Modern figure skating rules promote interest in experiments rather than they resolve into the reduction in element points. The decision to allow music with lyrics to be used with programs other than ice dance expands the variety of musical compositions available, making figure skating more popular and more attractive. The program should be a story on ice, not just a sequence of elements set to music, even if it is ultra complex and difficult to perform. The so-called smart play isn't always a spectacular action. My task is to try to create a story on ice that everyone will forever remember.

 

Music should help keep the skater in the right mood, even if something goes wrong during the performance and he or she wishes to just somehow get through the program. The mission of the music is to help you get back to shore, like a wave, when it becomes hard to swim.

 

The choice of music should match the speed and rhythm of the program being planned, and in addition to complementing the skater's style, most importantly, it should be music the skater likes. Figure skaters listen to the same music over and over as they rehearse, so the chosen compositions should not annoy or distract them. It is one thing to understand a composition, but if you don't like it, you will not be able to feel it. This is a very important consideration when preparing music for a program.

 

Figure skating and ballet have much in common and many skaters perform to famous ballet themes. Choreography for ballet compositions already exists and designing skating programs based on ballets is a little bit easier. The ballet and the skating are already close to a match. In fact music for skating programs is taken too often from ballet and audiences today want something different. In my view we should avoid such overused compositions and choose more creatively.

 

It is well known that a figure skating program includes athletic elements like jumps, spins, steps sequences, etc. My task is also to create the key elements that individualize a program. By key elements I mean, for example, choice of apparel, glances, gestures, motion, action, sound effects like the sound of rain or thunder, non-trivial enter the elements, jokes, humorous moments, extravagant and imposing elements, requisites, for instance in case of exhibition galas.

 

I) The first option is the simplest. If you already have an idea for your program and you've chosen appropriate music, the music should be cut and edited in some sound editor. This procedure is relatively simple.

 

II) Another option is for me to create the idea and to choose and edit the musical compositions. In this option, I would provide advice on choreography, and help in choosing elements and preparing the basic program. All of this would be done on the basis of mutual agreement, after significant discussions and upfront on-ice tryouts. Such very creative and interesting work requires a cooperative relationship.

 

Because I am a musician, songwriter, composer and arranger, music producer, and sound engineer as well as the creator of many musical projects, it is possible to perform to my own compositions.

 

Both options include free legal advice to ensure that use of music in the figure skating program complies with the copyright regulations in the country where the work will be performed. Also free consulting is available concerning the value of components and figure skating rules, which change from year to year.

 

Every program requires an individualized approach. Sometimes it is better when a short program and free skating match in theme; in other cases, it is better to choose different styles and moods. Sometimes we can pick one musical composition for a program or to put several themes together.

 

If a program uses several musical compositions, my task is also to combine them in a way that they match in pitch and key, and that changes of style and rhythms flow smoothly, so that the whole program can be seen as a single entity.

 

Also, I can help choose program elements that comply with figure skating rules and choose sequences that fulfill requirements while avoiding unintentional, disallowed repetitions of elements that can decrease base points. If the rules allow switching and changing of elements, and keeping in mind the individual figure skater's skill level, the sequence of elements should be chosen so that it can be modified during the performance.

 

Some musical compositions are associated with particular skaters. E.g: "Gladiator", "Winter" and "The Man in the Iron Mask" – Yagudin, "Boléro" – Kostner, "The Godfather" – Plushenko, "The Moonlight Sonata" – Gordeeva and Grinkov, "Chaplin" – Berezhnaya and Sikharulidze. We need to be careful. I always try to be informed of current figure skating events. Taking into consideration recent championships programs and historical developments, I can chose a program that has no major links to an existing performer, or we should try to achieve more.

 

Figure skating and music are two creative sides of the same medal. It is always possible to write unique music for a particular program for a certain figure skater: the music will be heard for the first time by the public when the program is performed. I have also prepared my own musical compositions for short programs or free skating events, which have not been in public rotation.

 

Another aspect concerns the use of original sound tracks. If the sound track is from a recently released movie, and if it can be used in a figure skating program and it fits a skater's style, then it is likely many people will have the same idea. If the sound track is from an old movie, then it is possible the music already has been used or overused. Of course, this does not preclude the use of sound track music, but we should take such issues into consideration. Further, sound tracks make creating a story line a little bit easier, and this is a benefit many figure skating professionals like.

 

When creating programs, we can learn something from other sporting events that use music and choreography as integral parts of competitions, such as rhythmic gymnastics or martial arts. A spectacular example of how this can pay off was Elvis Stojko skating at the 1994 World Championships to the music from the documentary film "Dragon: The Bruce Lee Story".

 

The musical composition should not contain non-expressive fragments that will result in featureless, "unfilled" parts of the program and frequent repetitions.

 

Speed, timing, the perfect match of moves and music, lightness, elegance, quality, spectacular story, attitude for victory – are all parts of our future program.

 

And a technical note: the audio file should be prepared in order to deliver the highest sound quality whether it's playing on a computer, TV, tablet, smart phone or through a sound system at an ice rink.

 

- goto top -

The music is the artistic part of a Rhythmic Gymnastics exercise which is regulated by Rhythmic Gymnastics Code of Points.

 

Music must conform to typical Rhythmic Gymnastics style which nonetheless allows a lot of creativity and flexibility.

 

The current Rhythmic Gymnastics Music Rules are: (2021 – 2024 CODE OF POINTS)

 

10. REQUIREMENT FOR MUSICAL ACCOMPANIMENT

 

10.1. A sound signal may start before the music.

 

10.2. Non typical music of Rhythmic gymnastics character is totally forbidden (Example: sirens, car engines, etc.) • Penalty: 0.50 point for music not conforming to regulations for Individual and Group exercises.

 

10.3. Each piece of music must be recorded on a single, high-quality CD, USB, or uploaded on the internet according to the Directives and Work Plan of the official Championships and FIG competitions. If the LOC requests the music uploaded, the participating nations retain the right to use a CD/USB for competition. The following information must be written on each CD/USB file:

 

• Name of the gymnast

• Country (the 3 capital letters used by the FIG to designate the gymnast's country)

• Apparatus symbol or name

 

10.4. In case the music plays incorrectly (wrong music, music distortion or interruption, etc.), it is the responsibility of the gymnast(s) or Group(s) to stop the exercise as soon as the gymnast(s) or Group(s) realizes the music is incorrect; the gymnast(s) will exit the competition floor and will re-enter and re-start the routine with her/their own/correct music when called to the competition floor.

 

10.5. A protest after completion of the routine will not be accepted for incorrect music

 

 

Some other implications:

 

- Music with non-offensive words is allowed to use in Rhythmic Gymnastics.

- A sounds signal is allowed at the beginning of the routine music.

- Some musical tones are allowed after the routine (after final position).

- The proper and acceptable lengths of music time depends on the gymnast(s) level.

 

- goto top -