Soundiron‘s newest entry into the multi-sampled choir genre — Mercury Symphonic Boychoir — is a whopper! Weighing in at 15.5 gigabytes with over 14,500 samples, Mercury is a beast of a library that will satisfy the most demanding of applications.

Mercury is normally priced at $399 retail, but all of Soundiron‘s full choirs are going on sale at a 20% discount for the next week, making Mercury $319 for the general public…

ADDITIONAL SAVINGS FOR SCOREcast MEMBERS ONLY

… However, Soundiron has graciously offered SCOREcast regional chapter members an additional $25 off of Mercury, making the library only $294. That’s more than $100 off the regular price for SCOREcast regional chapter members!

If you cannot see the video below, click here.

JOIN A CHAPTER and GET THE CODE

In order to qualify for the additional discount code, you need to belong to one of SCOREcast’s regional chapters.

We have three: North America (Hollywood), United Kingdom, and Germany.

(NOTE: If you live and/or work in NORTHEAST ASIA or any of the immediate surrounding territories, please get in touch with us for a special and unique upcoming opportunity.)

MEMBERSHIP REQUIREMENTS

Admittance to any of our regional chapters requires verification that:

1. You are indeed a working composer (Our moderators *will* check, so please have a website, IMDb credit, or some other way we can verify your work)
2. You have an active Facebook account with up-to-date profile picture. (SCOREcast is a “community” where members are known. Facebook account applicants with no current profile picture will be rejected.)

** Please be advised that you will only be admitted into the one regional chapter closest to you geographically. Admission into more than one chapter is not allowed at this time.
** SCOREcast: Germany is a German-speaking group. You are welcome to join if you live and/or work in Germany and are a native speaker. Otherwise, please feel free to join SCOREcast: United Kingdom.

JOIN TODAY

The discount will be good for one week and one week only. Time runs out at midnight, March 25th.

Follow the links above to the chapter closest to you geographically (note that the German chapter is an all-German speaking group, so unless you live and work in Germany, join our UK chapter) and get yourself involved in SCOREcast — the web’s most thriving global composer community. Once you are inside your chapter, you’ll be given a special code to get started with the single most comprehensive, playable and powerfully sampled children’s choir ever released: Soundiron Mercury Symphonic Boychoir!

Other Places to Listen

iTunes

To listen in iTunes:

1. Launch iTunes 11.
2. In the File menu, select Subscribe to Podcast.
3. Enter — http://feeds.feedburner.com/scopodcast — in the text box and click OK.

Stitcher.com

Episode Description

In our last show of 2012, Deane and Brian visit at length with Charlie Clouser of Nine Inch Nails fame and composer for the “Saw” franchise and the just released “The Collection”. Charlie goes deep into his composing and production process, his studio rig, and also answers SCOREcaster questions on how he got into the business and how he chooses his projects. The boys also continue their discussion on the effort to preserve work in Los Angeles and take time with Charlie to cover some year-end Top Picks.

Comments and Discussion

Weigh in on this episode! We want to hear your thoughts—Leave a COMMENT below and participate in the discussion!

On-Air Questions

Have a question or a comment you’d like addressed on-air? Send Deane and Brian an email at scorecastonline@gmail.com.

Saunders accepted the position over two months ago, but has worked behind the scenes with SCOREcast community chapter leaders in America, the United Kingdom and Germany to revamp methods of maintaining health and progress in all SCOREcast forums, meetups, and global events. 2013 will see him working with new community leaders in Asia, North America and Europe to develop additional chapters. He is also currently interfacing with the SCOREcast Core team to brainstorm and create even greater opportunities for forum and chapter members worldwide.

Saunders said today, “Over the past six years since its inception, SCOREcast has grown exponentially in both its size and propensity to serve the community. With SCOREcast’s ever-increasing popularity worldwide, we’re on the verge of a new era. I’m both proud and excited to be a part of helping bring this global community of media composers together as we press on into the future.”

To learn more about SCOREcast local chapter communities in your area, watch SCOREcastOnline.com for a new Community section coming this month.

Other Places to Listen

iTunes

To listen in iTunes:

1. Launch iTunes.
2. In the Advanced menu, select Subscribe to Podcast.
3. Enter — http://feeds.feedburner.com/scopodcast — in the text box and click OK.

Stitcher.com

Episode Description

In our 35th episode, Deane and Brian speak with Michael Barry and Michael Patti, co-founders of Cinesamples, about the recent decision by the American Federation of Musicians union to deny contracts for sample library production. The discussion covers the plight facing Los Angeles-area recording musicians, the volume of work that is leaving town for overseas venues, and what is being done as a grassroots effort to turn that tide.

Comments and Discussion

Weigh in on this episode! We want to hear your thoughts—Leave a COMMENT below and participate in the discussion!

On-Air Questions

Have a question or a comment you’d like addressed on-air? Send Deane and Brian an email at scorecastonline@gmail.com.

iTunes RSS Link

Episode Description

Back from summer hiatus, Deane and Brian ring in six years on the air with premiere Los Angeles contractor Peter Rotter, whose mile-long résumé features the majority of the last decade’s biggest films. The guys also discuss the shutdown of Sibelius’ UK development offices by music technology giant Avid, as well as a recent Canadian supreme court ruling that targets the future of royalty payments for musicians and composers.

Comments and Discussion

Weigh in on this episode! We want to hear your thoughts—Leave a COMMENT below and participate in the discussion!

On-Air Questions

Have a question or a comment you’d like addressed on-air? Send Deane and Brian an email at scorecastonline@gmail.com.

iTunes RSS Link

Episode Description

Deane Ogden sits down with five of film music’s most successful female composers for a discussion on the business.

Community Discussion

Weigh in on this episode! We want to hear your thoughts—Log into the COMMENTS below to leave your opinions and participate in the discussion!

On-Air Questions

Have a question or a comment you’d like addressed on-air? There are now two ways to do it:

1) Send Deane and Brian an email at scorecastonline@gmail.com

2) Tweet your questions to @scorecastonline using the hashtag #scorecastshow

Please tweet your questions for the panel using Twitter hashtag #SCO33, or leave your question in the comment section below this post.

SCOREcast Episode #33 will post this week on iTunes and here at SCOREcastOnline.com.

If you cannot see the video below, click here.

The Winner of SCOREcast’s 2nd Annual Cue Contest

and the new owner of Spitfire Audio’s SOLO STRINGS is

Jeremy Mayne

for his composition

“Contemplation”

(click here to listen)

About Jeremy Mayne’s “Contemplation”

Jeremy Mayne is a 28-year-old composer based in the United Kingdom. His winning cue, selected from 548 submitted entries, was written for piano, harp and solo cello. The cue was chosen by our adjudication panel of five A-list film and television composers for its outstanding marks in the following three areas:

• Featured use of solo instrument
• Production value
• Utilization of limitations (instrument choices and compositional decisions)

Jeremy used the following plugins/sound libraries as his palette in “Contemplation”:

• LASS First Chair Solo Cello
• Native Instruments “Alicia’s Keys” Grand Piano
• VSL Harp – the version included in Kontakt 5

Judges’ Comments

“I’d put the playing up against anything I’ve heard or recorded on my own stuff, whether here [Los Angeles] or in London.”

“Top notch writing!”

“The interplay between the piano and the harp is pretty advanced.”

“The ebb and flow of the piece is very organic. Great use of liquidity and motion.”

“Not only is he a gifted composer, but his skills as a player are on display here as well.”

Head over to Jeremy Mayne’s Soundcloud profile and give him some love of your own on his winning track!

Congratulations to Jeremy for winning the contest, and a very special thanks to all who submitted and entered the contest. The level of writing, crafting, and production in the SCOREcast composing community is simply some of the best out there!

Stay tuned for our next contest and your chance to win again… coming up VERY soon!

Win Spitfire Audio’s Newest Creation

SOLO STRINGS

in SCOREcast’s 2nd Annual Cue Contest

This year, SCOREcast is teaming up with Spitfire Audio to give away a copy of their hot new sample library, SOLO STRINGS—the premiere solo string library for Kontakt.

SCOREcast wants to hear what you can do with limited instrumentation, and if you blow our minds, you’ll win your very own copy of SOLO STRINGS by Spitfire! To enter to win, all you need to do is compose a melodic cue that is 60 to 90 seconds long, and uses THREE virtual instruments—one of them being a solo instrument of your choice. So, get your palette together, dream up a memorable melody line, and get to crackin! The contest starts TODAY!

We’ll get to the complete contest rules and eligibility requirements in a second, but right now, here’s the scoop on your prize from Spitfire Audio:

SOLO STRINGS by Spitfire

With three legendary players and one legendary studio, Spitfire Audio continues to roll out a definitive set of composers tools with SOLO STRINGS. For this release, Andrew Haveron (violin), Bruce White (viola) and Caroline Dale (cello) were recorded in situ’ the “Spitfire Way” at Lyndhurst Hall, Air Studios—arguably one of the finest in the world and home to hundreds of Hollywood blockbuster films and many top recording artists of our age.

Each instrument features two classes of patch: Legato and Multi Mic.

In Legato mode, three interval types are included: Glissandi, Slur, and Detache—all selectable via velocity, with up to four layers of dynamics selectable via the modulation wheel.

In Multi Mic mode, the various articulations can be dialed in via keyswitches, including long, staccato, spiccato, pizzicato, and harmonics, both long and short. These patches are polyphonic with 3-way mic control, including close, tree and ambient, enabling you to mix and shape your sound to desired levels of room ambience, and route for a true 5.1 experience. Dial just the tree mics in whilst you’re sketching on your laptop for ease on your system, then render back on your “big rig” in full 5.1 before presenting your demos to your director.

SOLO STRINGS by Spitfire features the finest of session skill talents available in the UK today. These are three players you have heard many many times already, whether in concerts around the world, on any recent Hollywood blockbuster recorded in the UK, or a raft of exceptional independent movie appearances and top tracks from a who’s who of pop and rock.

How to Enter the Contest

1. Meet the Eligibility Requirements (below).
2. Read and understand the General Conditions and Releases (below).
3. Compose and produce your entry (cue) based on the Official Rules and Restrictions (below).
4. Enter your composition in the Contest by sending an email with your NAME (first and last), your MAILING ADDRESS, your AGE, a LIST of plug-in instruments (including sample libraries) used in your entry, the TITLE of your cue entry, and a direct LINK (Soundcloud® links are also permitted) to your cue to at scorecastonline@gmail.com. Limit one entry per person. If multiple entries are received from any person, only the first entry will qualify for the contest.

By participating in this contest, all entrants agree to abide by the official rules and restrictions, eligibility requirements, and general conditions and releases, as outlined below.

Official Rules and Restrictions

Please read through these conditions carefully, and be sure to follow them exactly when composing your cue entry.

1. Cue must be original and composed by you.
2. Cue may not contain any pre-recorded melodic elements and can not be based on an existing piece of music.
3. Cue must ONLY utilize virtual plugin instruments. No live instrumentation allowed.
4. Cue must be submitted along with an itemized list of plugin instruments used.
5. Cue must be at least 60 seconds long, but no longer than 90 seconds.
6. Cue must utilize (3) total virtual instruments, one of which must cover a solo melody (not necessarily a VST dedicated to a solo instrument, but rather a solo instrument of your choice).
7. Entries will be judged based on the following criteria:
• Featured use of solo instrument
• Production value
• Utilization of limitations (instrument choices and compositional decisions)

Contest Deadline

1. All entries for SCOREcast’s 2nd Annual Cue Contest must be received on or before December 22, 2011, 5pm Pacific Standard Time.
2. Winner will be announced December 26, 2011 on SCOREcastOnline.com.

Eligibility Requirements

1. This Contest is open to people 18 years of age or older. Proof of age may be required.
2. Employees/contributors of SCOREcast, LLC and its affiliated companies, employees of the prize sponsor (Spitfire Audio) and its affiliates, and members of such employees’ immediate families or households, whether past or present, are ineligible to participate in this Contest.

Winner Notification

1. The winner of this Contest will be announced on SCOREcastOnline.com, and the winner will also be notified through email.
2. Any attempted second entry shall be discarded, and the entrant may be disqualified from the Contest.
3. Adjudication of entries will be conducted under the supervision of SCOREcastOnline.com and SCOREcast, LLC. The decisions are final and binding in all matters relating to this Contest.
4. Entries are the property of their respective owners, but will not be returned.
5. Entrants need not be present during adjudication to win.
6. If a winner cannot be reached after a reasonable effort has been made within five (5) business days of our first attempt, or if an entrant is found to be ineligible, an alternate winner may be selected.

General Conditions and Releases

This Contest is void where and to the extent prohibited by law and is subject to all applicable laws, including, without limitation, federal, state, and local laws and regulations. In the event of non-compliance by any winner with the official rules of this Contest, an alternate winner may be selected. Prizes are non-transferable. Return of any prize or prize notification as undeliverable will result in a disqualification of the winner and an alternate winner may be selected. All prizes will be awarded. Except where legally prohibited, acceptance of any prize constitutes permission for SCOREcast, LLC/SCOREcastOnline.com to use each winner’s name, photograph, likeness, voice, address (city and state) and testimonials, in printed, broadcast or other media, whether now known or hereafter developed, in perpetuity, in any manner it deems appropriate in connection with promoting this or any other Contest and/or promotion sponsored by it, without further compensation to the winner. By participating, entrants agree that SCOREcast, LLC/SCOREcastOnline.com, those involved in the development, production (including prize suppliers Spitfire Audio), implementation and distribution of this Contest and their respective parent companies, affiliates, subsidiaries, service providers, and agencies, and their directors, officers, agents, employees, attorneys, and any other person or entity associated with such entities and/or promotion (hereinafter collectively called “Promoters”), shall not be liable for any claims, damages, losses or injuries, including any third party claims, arising from or relating to, in whole or in part, this Contest, including entry and participation in this Contest and acceptance, possession, use or misuse of the prizes. All entrants further agree that in the event of any third party claims, damages, losses or injuries, arising from or relating to such entrant’s participation in this Contest, such entrant will indemnify and hold Promoters harmless from and against any and all such claims, including reasonable attorneys’ fees related thereto. Failure by entrants to provide a direct link to their entry cue may result in disqualification. Promoters shall not be liable for entries that are delayed, lost, misdirected, misdelivered, incorrect or incomplete, and such entries will be not be eligible for this Contest. Promoters shall not be responsible for any technical malfunctions of any telephone network, computer on-line system, computer equipment or software; program malfunctions or other failures; delayed computer transactions or network connections; any errors of any kind, whether human, mechanical or electronic; or any combination thereof, including, without limitation, any injury or damage to the computer of any entrant or any other person related to or resulting from downloading any part of this Contest. Any person attempting to defraud or in any way tamper with this Contest will be ineligible for prizes and may be prosecuted to the full extent of the law. SCOREcast, LLC/SCOREcastOnline.com reserves the right, in its sole discretion, to cancel or suspend this Contest should viruses, bugs or other causes beyond its control corrupt the proper administration or security of the Contest. SCOREcast, LLC/SCOREcastOnline.com reserves the right to modify the rules of the Contest in any way or at any time, as long as reasonable notice is given. All taxes on any prize won are the sole responsibility of each winner, including, without limitation, any federal, state, or local taxes which may be deemed applicable in such winner’s jurisdiction of residence. This Contest shall be governed by the laws of the State of California in the United States of America. By participating in this contest, entrants agree that the state and federal courts located in the State of California shall have jurisdiction over any dispute or litigation arising from or relating to this Contest and that venue for such litigation shall be only in the Circuit Court for the City of Los Angeles, CA or the The United States District Court, Los Angeles County.

iTunes RSS Link

Episode Description

We are celebrating five years on the air with a special visit from veteran video game composer extraordinaire Tom Salta. Tom stops by to chat with the boys about scoring games, the state of the game industry, the tools he uses, why he hates listening to film and game scores, and his work as alter-ego Atlas Plug. Deane and Brian also give an update on SCOREcast’s plans for the 2012 NAMM Show in Anaheim, and talk through all of the killer details surrounding this month’s SCOREcast 5th Anniversary celebration. It’s a whopping 2-hour episode that is chock-full of anniversary goodness, and definitely one that you don’t want to miss!

Comments and Discussion

Weigh in on this episode! We want to hear your thoughts—Log into the COMMENTS below to leave your opinions and participate in the discussion!

On-Air Questions

Have a question or a comment you’d like addressed on-air? There are now two ways to do it:
1) Send Deane and Brian an email at scorecastonline@gmail.com
2) Call the SCOREcast Hotline and leave a voicemail at (757) SCORE-60 [757-726-7360]

iTunes RSS Link

Episode Description

In this episode, the boys answer your questions in our very first social media-centric episode of SCOREcast. Nothing is sacred—topics include samples versus live instruments, composer copyright issues, dealing with your first film project, handling directors, where to live when starting a film scoring career, and much, much more. We’ll also give you a sneak peek into what we have planned for SCOREcast’s 5th Anniversary, and how you can get the full scoop coming up on what’s ahead for the website and podcast. Check it out!

Community Discussion

Weigh in on this episode! We want to hear your thoughts—Log into the COMMENTS below to leave your opinions and participate in the discussion!

On-Air Questions

Have a question or a comment you’d like addressed on-air? There are now two ways to do it:
1) Send Deane and Brian an email at scorecastonline@gmail.com
2) Call the SCOREcast Hotline and leave a voicemail at (757) SCORE-60 [757-726-7360]

Episode Description

In this SCOREcast Session episode originally recorded on June 4, 2011, Brian Ralston sat down with composer James Horner’s long-time music editor Jim Henrikson and Cuetime software developer and music editor Dan Brock to discuss the role of the music editor in the Hollywood feature filmmaking process. Get ready for an incredibly entertaining episode full of stories from some of filmmaking’s greatest moments, including a behind-the-scenes rundown on how the music for James Cameron’s 3D sensation Avatar was recorded. This is one episode you will not want to miss!

Community Discussion

Weigh in on this episode! We want to hear your thoughts—Log into the COMMENTS below to leave your opinions and participate in the discussion!

On-Air Questions

Have a question or a comment you’d like addressed on-air? There are now two ways to do it:

1) Send Deane and Brian an email at scorecastonline@gmail.com
2) Call the SCOREcast Hotline and leave a voicemail at (757) SCORE-60 [757-726-7360]

iTunes RSS Link

Episode Description

The boys are back, they’re mad as hell, and they’re not gonna take it anymore!
In this episode, things get pretty heated as Deane and Brian hash through some controversial topics including the new composer agency at WME, UJam’s songwriting software being actively endorsed by the Zimmer camp, and a recap of recent unionization news. Finally, in a segment that will be valuable to most people struggling to get started in the business, Deane and Brian dissect a real-life scenario regarding the right way to begin a professional media composing career. Add to that a look inside the creation of Cinesamples’ Cinebrass library as well as our ever popular Top Picks segment, and you’ve got an episode that packs a pretty powerful punch. With almost 90 minutes of rapid-fire content, this episode is one you are not going to want to miss!

Community Discussion

Weigh in on this episode! We want to hear your thoughts—Log into the COMMENTS below to leave your opinions and participate in the discussion!

On-Air Questions

Have a question or a comment you’d like addressed on-air? There are now two ways to do it:
1) Send Deane and Brian an email at scorecastonline@gmail.com
2) Call the SCOREcast Hotline and leave a voicemail at (757) SCORE-60 [757-726-7360]

iTunes RSS Link

Episode Description

Chipmunks, Spartans, and bunny rabbits——Oh my!! In our 29th episode, Emmy-nominated composer Christopher Lennertz (Alvin and the Chipmunks, Marmaduke, Hop!) stops in to hang out with Deane and Brian and talk about everything from scoring features, games, and television to didgeridoos and chocolate bunny rabbits! The boys also discuss a new film music financing model that is gaining traction in industry circles, and they continue the ongoing discussion of the proposed composers union in order to highlight a few very interesting recent developments. If this episode sounds like it is packed to the gills, that’s because IT IS! Hunker down and take it all in!

Comments and Discussion

Weigh in on this episode! We want to hear your thoughts—Log into the COMMENTS below to leave your opinions and participate in the discussion!

On-Air Questions

Have a question or a comment you’d like addressed on-air? There are now two ways to do it:
1) Send Deane and Brian an email at scorecastonline@gmail.com
2) Call the SCOREcast Hotline and leave a voicemail at (757) SCORE-60 [757-726-7360]

COMMENTS/DISCUSSION
Weigh in on this episode! We want to hear your thoughts—Log into the COMMENTS below to leave your opinions and participate in the discussion!

TOPICAL LIST

COMMENTS/DISCUSSION
Weigh in on this episode! We want to hear your thoughts—Log into the COMMENTS below to leave your opinions and participate in the discussion!

WE ARE BACK! In our first show since January (holy freakin’ crap it’s been a long time!), we are excited to be back with a vengeance. The new dynamic duo of Deane Ogden and Brian Ralston will catch you up on all of the things that have taken place lately, including the winner of our SCOREcast Theme Contest from February, the latest in film music news and events, an update on the proposed Composers Union, and a preview of the upcoming NAMM Show next month in Anaheim, CA. Get ready for an episode chock-full of goodies as we close an extremely busy 2010 and look forward to a full docket of SCOREcast episodes in 2011!

COMMENTS/DISCUSSION:
Weigh in on this episode! We want to hear your thoughts—Log into the COMMENTS to leave your opinions and participate in the discussion!

Amongst composers, “I design all my own sounds” seems to be a phrase that we like to use. Of course, we cannot be JUST LIKE everyone else, right? However, if you are a composer yourself, then you know the intrinsic value of not having to reinvent the wheel on every single project you take on. With abbreviated schedules being what they are nowadays, who has the time?

That being said, what sounds do you feel get overused? What sounds do you think are now dated and need to be retired? What priority do you place on original sound design, and how do you feel about organic sound design versus ready-made presets from top sound designers in the form of packaged collections?

Furthermore, is original sound design in film scoring (sometimes referred to as “score design”) still a necessary step in the creation of a medium that could essentially be scheduled out to only a few weeks? Do you find that you have the time it takes to truly “design” original sounds for the films you score?

Add your opinion in a COMMENT below!

Whichever, his comment raises a pertinent question amongst Creatives: Is there a limit to what can be created from an original place?

Indeed, what constitutes “originality”? To take it a step further, what makes for a truly original film score? Is it the sound? The composer? The approach? The use of instruments? Or none of the above… or ALL of the above? Why do you feel the way you do about your take on it?

Have an answer? Tell us.

Not sure? Watch this… then tell us!

Walking on Eggshells: Borrowing Culture in the Remix Age from Brendan Schlagel on Vimeo.

Learning how to identify and examine your weaknesses as a composer, mixer, orchestrator, editor, player, copyist, manager/agent, executive… whatever, is an important step in creating the career you’ve always wanted. However, it doesn’t end there. If you really want to move yourself to the next level, not only do you have to figure out what your weaknesses are, but then you have to find a way to conquer them. You have to follow through on a solution if you want achieve more for yourself.

With that: What is your biggest weakness? And more importantly, how do you plan to conquer it?

Hit the COMMENTS below and let’s hear it!

If we are honest, though, simply writing is not the primary motivator amongst most who do it everyday. First of all, there are far more easier paths to creative self-realization, and secondly there are far more important things in the overall grand scheme of life itself. After all, if you lost everyone and everything in your life tomorrow, we’d bet money that the least important “treasure” would be all of the shows you’ve worked on, right?

Some are motivated by the joy of “making stuff”, and music just happens to be the conduit by which they are able to do so. Others might be motivated by the fact that they are able to support their family doing such a thing as working in film music, while even others might be driven by the mere fact that they don’t know how to do anything else! Then again, maybe you just like to…oh, I don’t know… EAT.

There are hundreds, if not millions, of potentially motivating factors involved in choosing a career in film music. And so, we ask YOU: What TRULY motivates you to continue on in this tough business? Yeah, yeah, yeah… we get it—you were “made to do this!” But what is it that REALLY keeps you coming back time and time again to have another go, frame after frame, note after note, film after film?

The COMMENTS are open!

We’ve ALL wasted precious time on something in our Mad Dash for film music greatness. But, what has been the one thing that has saved you countless hours time and time again? Maybe it was a particular piece of studio gear, a process that you routinely practice in order to accomplish a certain task, a macro that you’ve come up with that multiplies your workflow, or a resource that you’ve uncovered that has taught you some efficiency. Whatever it has been, give us the scoop! Drop a link in the COMMENTS and give your pitch as to why we should check it out!

Knowledge is power, and one of the core values of SCOREcast is benefiting our craft by helping each other. What helps to save your skin during those nail-biting deadlines? The COMMENTS (below) are wide open!!

The Instrument
Everyone has a different way for starting a new music score. For myself, I find that my best ideas for a theme can be articulated on the piano.

I have a grand piano in my living room as well as a studio with an upright piano, keyboards, computers, and recording equipment.

It’s the grand that gives me the inspiration that I need to get a project started. It has a rich tone and I love playing it.  Sometimes, when there is a quick deadline, I will begin with the sequencer and keyboard in my studio, but I usually end up back at the acoustic piano to really hone the ideas.

Theme, Melody, Tune: Where To Start?
I’ve heard some composers have music playing in their heads all the time, but tunes are not always flowing through my mind.  I have to actually start composing and thinking about the music before melodies become part of my conciseness.  I begin with improvising on the piano, carving out a melody with a 4 or 8 bar phrase with all the elements needed – intro, middle, conclusion. I struggle a lot when composing a theme. I will be at the piano for hours; I’ll leave the room, come back, work some more, hum the music from the theme I am composing, and I’ll keep doing this process until something develops. Humming or singing the melody really helps me work through places in a phrase that need clarity.  Another step I take is using the title of the film or names of characters to create musical patterns. This works sometimes, not always.
For instance a theme I composed for a short film titled Mr. Chatterbox was based on the syllables of the title. This worked well and made the theme easy to write.

At the start of composing a theme, I tend to have too many notes in the initial theme, which is fine because it makes me weed out the notes that are unnecessary. I work with modifying the notes, not the length of the theme, changing interval relationships, leaving out notes and making the statement of music as clear as possible until it feels right to me. I may have a string of eighth notes in the theme and find that I can get to exactly the same place with fewer notes.

The Wall
Things may go smoothly for a while, and then I will find that I can’t get what I want. I’m stuck. I’ve hit the wall, and I need help!  That’s when I go to great composers who’ve made beautiful themes and scores.
I have a few composers that I turn to for thematic examples.  John William’s Schindler’s List, the violin solo, Ennio Morricone’s Cinema Paradiso ( I have the CD and find tons of inspiration in listening to it), and the second movement to Beethoven’s Piano Sonata Opus 13, often referred to as Pathetique. These three get me through hard spots when I am composing. I look at the interval relationship in the music and the harmonies that are used, play them, and think about how it all works. These compositions can get the creativity flowing again or I may have to take a real break for an hour or more.

I am definitely a composer that needs a completely different activity to recharge.  Walking the dog, taking a drive, attending a pilates class, doing something in a completely different location or space charges me right up. Then I can get back to composing again.

What happens if the theme just isn’t coming together no matter what you do? At that point I make a decision to abandon the theme and start over. This can really work and I have found that a completely new approach will be the answer.

Once I get a clear melodic line, or even as close to clear as I can, I then add harmony.
Adding harmony to an established melody can be easy or difficult, and the tune, melody or theme, may have to be modified so that the harmony I want will fit with my melody.

Time: Do You Need a Lot of It?
I’m not sure if having an abundance of time to compose a theme is an advantage. The more time I have, the more I debate. Good music can be composed quickly and one doesn’t really need tons of time. Maybe it’s just being time efficient that makes the difference.

If I have time, I can easily spend a few days getting the theme clearly stated. If there isn’t time, it’s a quicker process and I can’t debate it too much.  I like less time because I can get to the same place, quickly.

Those are my steps I take when launching a new project.
I would love to hear what other composers do in the first creative moments, hours, days when starting something new. Is there an instrument that you just have to use? How do you work out a theme? Do you have favorite composers and themes which inspire you?

Share you thoughts.

A graduate of California Institute of the Arts, Nan received her BFA degree in Piano Performance and studied at the Pacific Northwest Film Scoring program under the direction of Hummie Mann. Nan also serves on the Board of the Seattle Composers Alliance, and is a contributing editor at No Strings Attached E-News.

You can learn more about Nan and her music by visiting her website at NanAvant.com or her Facebook Page

Professionalism should be that standard by which we work at all times, no matter the type of project, the size of the budget, or the people for whom we are working. What you do at every step, how you conduct your business and professional life, will determine your career.

Be a pro at what you do: return calls; be on time for meetings; be respectful of your filmmakers’ accomplishments; be considerate of their time; be knowledgeable, efficient, businesslike, and clear; be the person on the team who gets things done — even if it’s beyond your job description as a composer — and always be prepared for any situation. Then, create exceptional music.

The business of a film composer can be elusive. You might be so involved in your own world of creating beautiful music that you forget (or don’t even know) how to be businesslike. Perhaps musical proficiency holds more importance for you.

Skill and competency in music is important, but that isn’t enough to be successful as a film composer. You can be highly trained in your field but if you don’t know how to deal with people on a professional level and do business, then how will you forward your career?

Here are a few concepts I have acquired by reading articles and books, by talking with business professionals — who are not composers or musicians — and through my own experience.

The Call
What might seem simple, like returning calls or emails, may be a problem area you need to handle in your business approach.

A quick reply could put you ahead of the other composer who seems too busy and waits a couple of days (or even a week) before answering a call or an email. It doesn’t have to be that time-consuming to make a call or write a quick email. If your attitude is, “This can wait,” then you may be sending the wrong message.

If you don’t have a lot of time to talk, then preface your call by saying, “I only have a minute or two, but I wanted to return your call.” They will appreciate your quick action.

Make it a rule to return calls and emails within 24 hours or less, because another composer could be contacted just as easily as you, and they will find the time to make that new connection.

Networking
Networking is critical for a film composer. You have to get out there and meet filmmakers.

Join filmmaker groups and be consistent in attending their events.

Networking is like an advertisement in a newspaper or on television. People see the ad and usually don’t respond right away, but if they see the ad enough, the name or product becomes more familiar.

Results are not always immediate in advertising or networking. The people you meet may not become your very next project, but after consistent networking and being out there, your name will come up and you will be remembered, then maybe they will call you.

Recently I was at a film event, and I met a new filmmaker who recognized my name and commented, “I’ve heard a lot of good things about you.” That was nice! I haven’t heard anything since, but it is a good sign to me that my networking is paying off.

If you need to improve your networking skills, there are some great books and articles that can teach you the technique of meeting new people and feeling comfortable in a social surrounding. Composers are sometimes used to being on their own and not socializing, but you will never meet people in the film business unless you get out there with them and network.

Learn the art of conversation and be determined to lose your inhibition in a social setting.

A Google search on conversational books will lead you in the right direction.

Follow Up
Your networking should provide you with several new business contacts and their cards.
During the networking event, and directly after your conversation with the new filmmaker, write down quick notes that will remind you of what you just discussed with your new contact. It could be something about their work or a topic that came up in conversation… anything to remind you of them and what you were talking about. Just write it down. Later, it will be something you can refer to.

Then, follow up. So many times people don’t follow up with the new contacts they have made, and the opportunity is lost. Business cards do nothing for you unless they are used. Some people never look at them again and throw them away. These are potential leads for you, so make good use of them.

I try to follow up with a short email the same day or evening I have met a new filmmaker.

View the filmmaker’s web site; in your email bring up the conversation you had with them or mention something good about their work, and include your contact information and links to your web site in your email signature.

Those are great ways to truly take advantage of business cards.

Continue following up with your new contacts. Find out what they have for new projects and give them updates of your recent work.

——————

It takes effort to do business as a film composer, and even if you don’t see immediate results, you will eventually.

I look forward to your comments and the ideas you all have on being pro.

You can learn more about Nan and her music by visiting her website at NanAvant.com.

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In spite of appearing “somewhat confusing . . . ill-prepared . . . scatter-brained . . . misinformed . . . [although] moderately victorious,” I’ll try to clarify some of the points that Jai Meghan brought up in an article that apparently resonated with many others, judging by the list of comments published subsequently.

In order to request recognition as a collective bargaining agency on behalf of composers, the Teamsters will be dealing with those production companies who come under the aegis of the AMPTP. This will, for the time being exclude game composers, commercial composers and composers of library music, not because the composers are inherently unworthy or unwanted, but because these groups have little or nothing to do with the AMPTP, an association of over 350 motion picture and television producers.

The “working composer” phrase should not be used or thought of as an epithet. The reason for looking into unionization has to do with composers who have a history of working for members of the AMPTP, but who have not been able to enjoy either individually or as a group the advantage of paid-for health and pension benefits that the AMPTP has provided via negotiation for every other person in the Hollywood creative community. The phrase “composers who have a history” is meant to refer to composers who are known to the producers associated with the AMPTP. There is nothing essentially pejorative either intended or implied in that classification. In that group are many composers, well-known and not so well-known, who will qualify in the initial membership drive by the Teamsters.

Jai thinks it’s “laughable” and “not even possible” to determine how many composers are currently working. Perhaps he’s right, if we include every composer who has ever put music to a film or video production, no matter how humble. But if we restrict our efforts to the members of the AMPTP, it’s still a very difficult task, but not laughable or even impossible.

Jai writes that “they [the AMCL] circulate information that stands in contrast. Benefits only. . . wage minimums” and so forth. The AMCL has never circulated any such information, and an email, which Jai alludes to, was sent out to attest to that fact. Since the public meeting at the WGA Theater on April 19th, there has been only one stated goal for unionization: benefits only. The reason is because this has been found to be the one issue that has galvanized a majority of the composers and lyricists the Committee has spoken to. Some of these composers are well-known and some are not so well-known. They are not members of what Joel Ciulla referred subsequent to Jai’s article as “the good-ol’-boys-club.” Such a statement is ridiculous. What would any member of the Organizing Committee gain by taking part in such silly association?

If there is confusion in the AMCL message, then no one has been paying attention to what was said at the April 19th meeting. The earlier statements about the possibilities in unionization from the initial meeting in November were seen to be a non-starter for many who were in attendance. Additionally, there was a great amount of fear that if any unionization attempt set upon the course of anything other than benefits many composers and lyricists would ignore the effort entirely. As it stands at the present moment, we have literally hundreds of supporters for the AMCL position. Once again, in case you missed it, it’s due to “benefits only.”

As for the “mysterious letters and reprints of emails sent by Steve Dayan to other professional film industry unions,” there has been only one letter to our knowledge that was ever sent as an email to anyone, and that was a private document that Steve sent to the WGA that contained some draft language for a specific request. It was not meant for publication or as any sort of a public statement, nor was it any sort of final document. It was a draft, a term acknowledged by the WGA. It was a position that the AMCL was considering, but eventually decided against, for the same reasons that the goal was eventually honed to be benefits only. Except for the confusion caused by someone leaking the letter to the press and then trying to bang the drum loudly in order to verify its authenticity, the letter, insofar as it has any relation to the AMCL’s present goal of unionization for the purpose of obtaining benefits, is a non-issue.

Trying to convince some persons that the AMCL is no secret cabal reminds me of the old joke of trying to answer the question, “So when did you stop beating your wife?” It’s a no-brainer to identify “the TRUE reason” for wanting to unionize composers and lyricists. Since the demise of the Composers and Lyricists Guild of America, composers and lyricists have not had the ability to collectively bargain for anything, much less benefits. We chose the Teamsters because they are powerful. They have clout. We understand that that makes some people nervous. But we see it as our best and possibly final opportunity for successful collective bargaining. As for the paranoia, there are to my knowledge “no mysterious letters to other industry unions popping up left and right.” Concerning the containment of “rogue groups,” good luck on that one.

Groucho’s amusingly misanthropic comment about club membership does not apply here. We’re working to make this “club” a place in which membership will mean something by improving the lives of its members, otherwise there’s no other reason to do it. When the time comes that unionization is achieved by joining the Teamsters, the AMCL will dissolve. We’ll all be Teamsters. We’ll all be “good ol’ boys.”

If you have questions about any of the above, you’re welcome to address them to info@theamcl-399.org.

Broughton is a board member of ASCAP, a governor of the Academy of Motion Picture Arts and Sciences, a former governor of the Academy of Television Arts and Sciences, and past president of The Society of Composers and Lyricists. He has taught film composition in the Advanced Film Music Studies program at USC and is a frequent lecturer at UCLA. You can find more information about Bruce at his website.

I remember a specific moment during my college years when I was paralyzed with fear. Fear that I would wake up the next morning without inspiration. Fear that the melodies bouncing around in my head would be silent. Fear that my creativity would run dry. That was a defining point for me because, in that moment, I decided to learn how to write no matter if I felt inspired or not. It can be scary to sit down in front of the empty computer screen, or sheet of paper, and feel nothing. Yet this is something a professional must be able to do. When working with deadlines you can’t afford to wait until inspiration strikes — you have to just buckle down and get it done (and if you feel inspired while writing that is a bonus).  ;)

I am happy to say that I no longer live in fear of “running out of music”. I know that I can sit down and write at any time, anywhere. How did I get there? I started writing every day. I set a goal that I was going to write one piece a day and it had to be at least 8 measures long. That was where I started. Now I write for several hours every day. It is like weight training. You need to work on your muscles so that you can lift more and more. Music energizes me. I have learned that even on days when I start writing feeling no inspiration whatsoever, I usually go to bed in the early wee hours with so much music dancing in my head I wish I never had to waste time sleeping again but could just keep on writing.

If you are used to waiting for inspiration every time you compose there is no way to say how long it will take to finish a project. When someone approaches you about scoring something you need to know how long it will take you to do what they are asking for. I can guess pretty accurately how many hours it will take me to write a score based on “minutes of music needed” + “genre”. With those factors in mind, I’ll know if have time to complete the work within the time that is available. If you can’t deliver a good product in the time frame given, you need to consider whether you should say “yes” and hire help, or if you should say “no”. (But that’s a topic for another time.)

Thomas Edison said, “Genius is one percent inspiration, ninety-nine percent perspiration.” I believe that to be true. I am quite sure that if John Williams only wrote when feeling inspired, he would not be the composer he is today. So, don’t worry if you don’t feel inspired. Start running and let inspiration catch up with you.

Now, let’s get practical. There are several ways that I get started writing on days when I feel no inspiration. Often I get started by improvising. Most of the time I record it to capture any ideas worth refining later. I also have a collection of favorite pieces that I like to listen to; good music inspires me to write. Sometimes I start writing based on music theory knowing that certain chord progressions and instrument doublings will create a certain sound.

I would love to hear from you about this. What are some of your favorite ways to get started writing on days when inspiration is on holiday?

Lydia scored her first film in 2006 and fell in love with writing for picture. Since then, her focus has turned from writing concert music to film scoring, even though she still does both.  She has worked as an orchestrator, transcriber and engraver, and she currently writes music for several music libraries. You can find out more about Lydia at LydiaLAshton.tv.

Audio: Demonstrate in Your Studio and Ask Questions
Filmmakers usually have excellent editing equipment but often don’t have a good audio system, and sometimes they are unaware of what a quality system really sounds like.

If you can, try to schedule your first meeting with the director in your studio. Ask them to bring a couple of their favorite soundtrack CDs that apply to the current project or from one of their previous projects. You can demonstrate your great audio gear with their music and samples as well as playing your original music tracks. They should easily hear that there is a difference in audio quality from their studio to yours.
The ideal situation is for the filmmaker to always listen to your cues with you in your studio; due to scheduling conflicts, however, this may not always be possible. Their first time listening to your new cue may have to be in their own environment and out of your hands. If this is the case, be sure you know what type of system they will be listening on. Agree with “a one-time listening pass” of the music on their equipment, but further discussion and decision-making should be in your studio.  Don’t leave this conversation about audio to a later time.

If this is an out-of-town client, you need to create audio that will sound good on their systems. The questions you ask at the start will help shape what you deliver to them. Ryan Leach’s article, “Long Distance Scoring”, contains great advice on how to adapt your audio files to the filmmakers’ needs.

File Delivery
I send my files as AIFF, which has been a standard format for the filmmakers and editors I’ve worked with. And lately, I have been hearing about OMF files, which is next in my queue to learn.

I deliver my files through an online system, Box.net, an excellent file sharing and storage service.  You can sign up for free or pay a nominal fee for larger storage capacity, and it’s easy to use. The filmmaker receives an email with a link to the music cues and downloads your music. You can also send MOV files with your music synced to picture.  I also use Box.net as one of my backup and storage solutions along with several hard drives and Carbonite, another online backup.

A Quick Response
During the writing process it’s important to have immediate or near-immediate feedback on your work. Sometimes I think filmmakers may not be aware that you are really waiting to hear from them, and often with “bated breath”. You want feedback so that you can move on to make changes to the current cue or to start the next cue.  Let them know early on that you appreciate a quick response.

I remember a long distance collaboration I had with a director and editor.  I was brought onto the project to provide additional music. I would send several tracks for them to listen to and didn’t hear anything back for days.  The film was then accepted into a film festival, and we were approaching the screening deadline.  The editor was still editing and asking me for music.  So after I sent the new music tracks, I followed up with an email — email was our main line of communication due to time zones — and typed in the subject line: “IMMEDIATE FEEDBACK PLEASE”.  That worked.  I got a quick reply with great feedback.

I should have made this requirement much earlier, but at the time I thought everyone was on the same page.  Lesson learned: never assume anything.

Being clear at the start as to what your expectations are can create a great experience for you and your new collaborative project.

Award-winning composer NAN AVANT hails from the Pacific Northwest and has scored numerous independent films including UNREMEMBERED, ALISTAIR MACLEAN: Y’DID NEFESH (Silver Medal for Music at the Park City Film Music Festival 2009), the documentary POSTCARDS FROM TORA BORA, and an abundance of short films.

A graduate of California Institute of the Arts, Nan received her BFA degree in Piano Performance and studied at the Pacific Northwest Film Scoring program under the direction of Hummie Mann. Nan also serves on the Board of the Seattle Composers Alliance, and is a contributing editor at No Strings Attached E-News.

You can learn more about Nan and her music by visiting her website at www.nanavant.com.

On many, in fact most, of the projects I work on, there will be some sort of final, last tweaks that happen just before it goes off to the dub stage, while the film is being mixed, or even right before the final mix gets printed and delivered to theaters. We hear stories of this all the time. My solution, along with my process of mixing-as-I-go, has been to have a unifying tool that can facilitate every aspect of my process thus keeping the final mix of the score within this one program.

For me, it’s Cubase. Most everything happens in Cubase for me, except the picture, which is housed in Pro Tools along with any dialogue/sfx/temp music cues. I have all my writing templates in Cubase, I do all my writing in Cubase, I record a lot of my “sounds” and final instruments in Cubase, I’ll add my own effects and plug-ins in Cubase as I go along, and when everything is finalized, I have my engineer come in and he does the final mix in Cubase. Heck, I’ve even thrown in an extra step in between me working on it and presenting the cue to the director. I’m very blessed to have my engineer working in the same building as I do, so before I present my demo to any client, I’ll have him come in to take a listen, maybe do a few tweaks on some sounds; not a full blown mix, but just to touch things up a bit, sonically. I do this to try and keep everything that the client hears as close to my original intention and close to what it will end up sounding like as possible (excluding our tweaks of course). As we all know, the quality of the demos we present on any project is a very crucial part of the process, and as my engineer and I have been working together on most of my films, we have a good mixing/working relationship where I know how he likes things prepped and he knows where I tend to go with a specific sound. When I’m presenting something, it really is the joint collaboration between him and myself, and it is very similar to how the score will end up sounding.

Remaining open until the very end has become a convention that is expected and required in today’s industry and, with all this technology at our disposal, it has made it a lot easier to uphold. I recently found an interesting interview with composer Klaus Badelt on his French film Le Petit Nicholas in which he describes a similar process where everything for him from the writing, recording to mixing happens in Logic. Everyone has their own preference, but the main concept remains very similar.

There are numerous of my own examples where we have been able to cater to last minute changes due to our work flow of having everything living within one program. However, this does not mean that I do not employ the use of other programs for specific purposes. Sometimes I use Ableton Live, Logic, Pro Tools, etc. but my main tool remains in one. On a psychological thriller I did, Dark Woods, we had delivered the final 5.1 mix of the score to the dub stage and I got a call a week or so later from the director asking if we could do some final tweaks. There were some musical/sonic elements I had done in some of the cues that he wanted in more scenes than we had originally spotted/written them to. So with all the midi/sound bytes/ audio stems/mixes there in front of me, I was able to be very flexible with the changes and it ended up helping the film flow better as well.

On a comedy drama (Phil Cobb’s Dinner for Four) I just recently finished, we revisited the score after several months of re-editing/color-grading to see where we were at and becauseI had everything right in front of me, it made it very easy to execute any changes or additions required. There was a lot of referral to the original suite I had written for the film and some segments we had originally deemed unfitting to the film ended up in several key moments of the film.

So with the increasingly shorter amount of time in which to deliver a score, does that change certain aspects of our process? How can we keep our doors open until the very end and still keep everyone sane and happy? What are your thoughts and experiences on this?

Award-winning Thai film composer S. PEACE NISTADES (Sornsanti Nivasanont) has collaborated with such artists as Lisbeth Scott (The Passion of the Christ, Munich), Karen Han (Pirates of the Caribbean: At World’s End, Kung Fu Panda, The Hurt Locker), Gingger Shankar (Charlie Wilson’s War) and Grammy Award-winning artist Darlene Koldenhoven (“Yanni: Live at the Acropolis”).

Based out of their music production facility, Alkaloide Music, in Los Angeles, CA, Peace and his team have worked on projects in almost a dozen countries. You can learn more about Peace at his website, Nistades.com.

Held in Beverly Hills at the Writers Guild Theater, the official proceedings began with a welcome message from AMCL spokesman Bruce Broughton, who outlined that the new focus of the AMCL unionization effort would be to secure “benefits only” for composers and lyricists—a message quite different from November’s initial meeting, where the committee announced that “wage minimums and working conditions” would also be included in the negotiations.

Speaking to SCOREcast just prior to the start of the meeting, Bruce Broughton told us, “I’m happy. This is a great turnout and we have a solid plan. I think we are ready now to really get something done. We finally know what we are doing.”

A statement was presented by actor and Screen Actors Guild representative, James Cromwell, indicating SAG’s commitment to support composer unionization. Writers Guild West executive director, David Young, also gave a statement from the WGA West in support of a composers union, vowing that “the WGA West will support you in every way we can”.

In the lobby, a 3×4 panel was on display with the names of 250 composers, lyricists, actors, producers, and directors indicating support of the union effort. Names on the list included composers Hans Zimmer, John Ottman, Marco Beltrami, Carter Burwell, and Thomas Newman, producers Steven Bochco, Aaron Sorkin, and Dick Wolf, and director Edward Zwick.

Several letters of support were read throughout the evening, including one from director/producer Ron Howard.

The AMCL’s recent move to fight for “benefits only” was indicated by many in attendance to be the tipping point for support, and the AMCL Organizing Committee stated several times that the their main focus would be to first protect “working” composers and lyricists in the film and television music industry.

From the dais, AMCL Organizing Committee member and composer Mike Post stated, “I will not be a part of a union that is lead by non-working people.”

The second part of the meeting was opened up to members of the audience to ask questions and gain clarification on several key points raised by the AMCL Committee throughout the evening.

As of yet, no further meetings have been announced by the AMCL, but we will continue to keep you informed of further information here at SCOREcastOnline.com.

The Association of Media Composers and Lyricists
www.theamcl.org

Sometimes it isn’t; sometimes “delivery” amounts to emailing an attachment to the dude you’re working for and saying, “Here you go”. If your uncle is working on a home video and wants you to throw something together in exchange for him washing your car, go for it- do it that way.

But what happens when your career jumps up from micro-projects to mini-projects; or from mini-projects to legit projects? Wouldn’t you want to already have the professional delivery processes and habits, and lessons-learned in place from the start? Micro-projects are a great learning ground. So go learn—make your mistakes while the stakes aren’t high. All of us, regardless of how small the project is, should at least try to deliver professionally. If you don’t, you won’t make any mistakes at it until it counts, and then it’ll hurt.

Maybe I don’t know much of what I’m talking about. I’ve done a couple very small projects. But as I’ve mentioned in previous posts, I’m bringing my “day job” experience to bear as well. In my day job, if I have a presentation to give to the Board of Directors, I don’t just go in with a scribbled-on legal pad. I use the official corporate PowerPoint template, organize my notes, think through what I’m going to talk about, and dress nicely. Sure, the information I present would be the same whether I’m in flip-flops or Florsheims. But like it or not, delivery is critical to establishing or maintaining credibility as a professional.

What I’m trying to do here is urge any of you start-up composers to not to disregard “big-budget” delivery concepts simply because you may not be working on a “big-budget” project. Soak up every bit of advice. Now is the time to learn, take some risks, experiment, and make some mistakes. Read every SCO article you can, do some writing (documents, not music) to get your thoughts down about how you may want to handle certain situations. Research tools and techniques to better manage your computer files. Develop a letterhead and business cards. Go check out SCOREcast’s Podcast #17 on how to deliver a killer demo, and apply it to everything you deliver. It’s best to get all the details out of the way and know what you’re doing before you get too busy writing music to figure it all out.

The Association of Media Composers and Lyricists (AMCL) has announced its next organizing meeting on April 19, 2010, to update composers and lyricists on its progress in regards to unionizing the group under the Teamsters 399 banner. The message, sent via email to its mailing list members, also reflects last week’s resignation of the group’s founder, Alan Elliott (his name is now absent from the list of participating committee members), and indicates that three new members have joined the committee—composers Richard Marvin, Sean Callery, and Snuffy Walden.

The announcement reads as follows:


You are invited to attend an important event: an organizing meeting of the Association of Media Composers and Lyricists, hosted by Teamsters Local 399 on April 19, 2010 to be held at the Writers Guild Theater.


On November 16, 2009, an informational meeting was attended by 350 composers and lyricists, half of whom signed cards indicating they wished to be represented by Teamsters 399 in negotiating a collective bargaining agreement with production companies.


If you were there that evening, this will be an opportunity to hear about the considerable progress we’ve made since then, including the support we’re receiving from other guilds. If you couldn’t get to the November event, this will be a chance to learn firsthand about the possibilities for unionization, to ask questions, and to make your own voice heard.


We urge all composers and lyricists to attend.


Parking is available and is being paid by the Teamsters in the structure directly south of the Writers Guild Theater.


Please RSVP your attendance to callboard@ht399.org

This morning, a mass email went out to the mailing list of the Association of Composers and Lyricists announcing that the group’s founder, Alan Elliott, would be resigning from their organizing committee effective April 1. The email also denotes that a few more participants have joined the Organizing Committee, namely composers Ray Colcord (a past president of the SCL), Richard Gibbs, Mike Post, Vivek Maddala, and orchestrator Christopher Klatman.

The following is the exact text of the memo:

On April 1, Alan Elliott is resigning from the Organizing Committee of the Association of Media Composers and Lyricists after four years of dedicated service in advancing our unionization efforts with Teamsters Local 399.

The Organizing Committee, in recognition of his many contributions in helping to bring composers and lyricists together with the Teamsters, thanks Alan for his devoted service.

Bruce Broughton/Ray Colcord/Alf Clausen/James DiPasquale/Richard Gibbs/Christopher Klatman/Vivek Maddala/Mike Post

The Association of Media Composers and Lyricists (AMCL), has been working for four years to build a relationship with the Teamsters with the goal of organizing and creating a union for composers. Visit their website at www.theamcl.org for more information.

Among other things, the issue of interactivity throws up opportunities and challenges that are unique to video games. We’ll take a look at exactly what the opportunities and challenges are, and how they can help you successfully spot a game. We’ll also take a look at who turns up to a game spotting session, and how the musical decision making (at least in my experience) can be decentralized compared with a film.

Hit the jump, and let’s get into it …
While certain situations in video game scoring (like cinematics) seem call for a more-or-less identical approach to film scoring, most really don’t! So let’s take a look at what these are, and how to spot them effectively. But first… who is actually at the session?

The Team
In my experience, a video game spotting session will involve: the Game Designer (like a film director, except he also usually writes the story and dialogue, at least in part), the Audio Director (like a music supervisor, but he’s oversees the foley, sound design, etc.), the Sound Designer (the guy who actually makes all the non-musical sounds in the game), and the Composer (you!). Also present may be a producer or similar “suit”, who may be there to make sure the music will in line with the desired slant of the game on a commercial level (not too dark, not too family-oriented, that kind of thing).

The Big Picture
Before you jump in and start discussing where the music should go, and other specifics, the most important aspect of spotting a game is to get the overall tone right. Is it orchestral? Hybrid? Electronic? Punk?

Hopefully the audio director has chosen the right composer for the job — but that needn’t be so! I was once approached to score a game based solely on the hype that surrounded my first game soundtrack. It was an “X-treme” racing game that required a fast-paced neo-punk soundtrack. Me being mainly an orchestral composer, it was sort of like asking Madonna to do a death metal album. Of course, it never got as far as a spotting session, but in any case: the first thing to do at the spotting session is make sure everyone is on the same page genre-wise.

Beyond that, what is it all about? What’s the big picture? The game could be a shoot-em-up, but is it about honor? Survival, perhaps? Bloodlust? Black comedy even? What is the overall tone of this game?

I remember when I spotted the adventure game Dreamfall, we established that it was sort of an “Empire Strikes Back” situation, where it was a huge adventure on the surface, but by the end almost everything has gone wrong for our heroes, including the death of a much-loved character from the prequel, April Ryan. So there was an underlying tragic tone that had to permeate the score as a whole.

Another important thing to find out at the start is: who is in charge here? In my experience, the Audio Director had far more sway over the music than the Game Designer. In fact, I reported directly to him for the entire duration, having only sparse contact with the Game Designer. Granted, it all had to go through the Designer, but on several occasions the Audio Director disagreed with the Designer, and the music went through anyway. I often took direction from the Sound Designer too, because he was in charge of implementing the music into the game’s engine.

Now for some specific details regarding how to spot a game. The paradigm of interactivity requires a different spotting mindset to film making. Whereas music in a film is, in the end, invariably attached to a scene, music in a game can be attached to all sorts of things: locations, cinematic sequences, characters, player status, storyline… Let’s take a look at some of these:

Locations (And Loops)
Much of the time, you need music to set the tone for a location in a game. It is common for music to be written so that it loops back around, but it needn’t be so. Sometimes the music will rest for a while and then come back so as not to become tiresome. This is something to spot at the session, based on whether the player will be spending a lot of time at that location or not. If the music needs to loop, this is a technical issue which you will need to bear in mind at the composing and production stage.

In any case, locations may well have music “attached” to them in your game, so make sure you discuss all the locations in the game fully, and find out what tone is needed according to the Designer.

Cinematic Sequences
Cinematic sequences (or “cinematics”) are when a game turns into a film for a short while. You just sit and watch, without being able to control a character. When you spot the game, it is very likely that many cinematic sequences are either unfinished or not started yet, but the Designer will know where they go. Find out!

Technical issues I have encountered include things like: will the cinematic lead into a loop afterward, or will it come before a loop? I remember taking care that the lead-in and lead-out of my cinematic music sounded good cross-fading into the loops that might precede or succeed them. (The technique was usually to start on a single, longish note that was in key, or compatible with all the keys the loops were in.) These are things you will need to find out at the spotting session.

Characters
Some games have more than one playable character, and you may find the story calls for different music to be “attached” to a character. When I scored Dreamfall, there was a scene set in some swamplands where the same timeline was told from the perspective of three different characters in turn. This story-telling device is often used in movie making — I remember some of Tarantino’s “Pulp Fiction” was done that way.

In this case, it was decided that the music be “attached” not to the location, but the character you were playing. So the gamer would have different music each time they played through the same timeline. I had written themes for each characters, and the underscore was weaved with those themes.

Player Status
When spotting a game, it’s good to look for opportunities where the music may change according to the player’s gaming status. For instance: in an action game the music may become frenzied when the player is low on health. Similarly, you may explore the possibility that the music will change depending on whether the player is “in combat” or not.

Storyline
Lastly, and most importantly, the storyline itself will often dictate the music used at any given point in the game, irrespective location, character, etc. It’s easy to lose sight of this kind of thing when scoring a long game, which is why it’s important to try to nail these issues at the spotting session.

For example, Zoë (the main character in Dreamfall) is playable in the location of Casablanca at various points during the game. The music at the beginning of the game is light and playful, in accordance with the still-budding story. At the final chapter of the game however, the music is slow, brooding, dark and slightly tragic you walk her through Casablanca.

So in this case the music is not attached to location nor character, but the storyline itself.

–

In closing, spotting a game successfully really requires you to be a gamer. The mechanics of interactive storytelling really are very different from film making. So, if you’re truly serious about game scoring, that means you have to play games for at least 10 hours a day! Otherwise you just can’t call yourself a professional.

Jokes aside, it’s tough to make spotting decisions successfully without having at least some experience playing a really great, triple-A game. So why not pick one up and see what they did with the music? What would you have done differently? What did they do that you might not have thought of yourself? Call it work

For an example of well-spotted cinematics, exploration loops, player status-dependent music (combat), and even using music to solve an in-game puzzle, feel free to check out some video here.

COMMENTS are now open below, so let me know what your thoughts are on all of this. All of us at SCOREcast are anxious to hear!

___________________

LEON WILLETT is an award-winning composer of music for media and the concert hall. His orchestral score for DREAMFALL: THE LONGEST JOURNEY, an adventure game developed by Funcom for Aspyr, has garnered awards and nominations across the industry, including MTV (Best Game Soundtrack nomination), IGN (Best Original Score nomination), Gamespy (Music of the Year), Movie Music UK, as well as many others. For more detailed information about Leon and his various film, game, and concert works, check out his official website at www.leonwillett.com.

More of the experience, and a tool to share… after the jump!

The film was divided into three segments, each with a different composer. I wrote about 20 minutes of music for my 20-minute segment. Yes, wall-to-wall music. My director was in California and I’m in Texas, so we spent plenty of time on Skype. I hooked up my system to funnel the main audio out from my equipment into Skype, which allowed us to collaborate easily, as if he were in the chair next to me.

Because of the informality of the project (and my inexperience), our Skype sessions amounted to ongoing spotting and tweaks until I had enough to continue working for a few hours, at which point we would get off Skype and I’d work until I had more to show him.

To help with this ongoing communication (and because I was on a flip-flop budget — no shoestrings), I developed a cue sheet in Excel. For a DIY Studio, a free solution is a great one, just so it fills the need — and it did nicely. The cue sheet allowed us to speak in more exact terms, and was a great way to maintain and communicate our spotting decisions.

In the spirit of no-cost solutions, I’d like to offer up my cue sheet for comment, corrections, enhancements, and yes, feel free to steal it. It won’t be useful to everyone, but it may be useful to some. Most of the project-specific information has been removed from the template, but I left some in for illustrative purposes.

The first tab of the spreadsheet (“ProjectInfo”) is just project information and various codes used throughout the spreadsheet. The Project Title, Composer, and FPS fields are propagated through the other tabs.

The second tab (“CueSheet”) shows the cues for the segment, with each cue’s start and stop SMPTE codes. The SMTPE code computation is perhaps a bit inelegant, with the Frame field separated from the SMPTE In and SMPTE Out fields; but based on the frame rate set in the first tab, this was the easiest way to make the math work.

The third tab (“TimingSheet”) breaks down the cues further, allowing the director and I to note specific needs/changes within each cue. The grey row you see below represents a space in the film without any music. In this case, it was about 6 seconds of silence.

In all of the spreadsheets, the orange fields are formulas of some kind, copying information from sheet to sheet, calculating durations, and validating frame rates (for example, if I tell the spreadsheet the project runs at 30fps and I accidentally type in that a particular scene begins on frame 33, the validation column throws an error.
Yes, it’s simple — even crude — but it’s better than nothing, which is what I had! But the spreadsheet assisted greatly in spotting sessions with my director, kept me on schedule, and kept my director happy.

I’m open for critique, edits, improvements, etc… and if you have a great no-cost or low-cost solution, talk it up! We DIYers would love to see what else is out there. Here is the link to the actual spreadsheet. Enjoy!

JAMES OLSZEWSKI is an independent artist and percussionist with a passion for film music. James composed, produced, and released his first orchestral CD, SPEAKING IN WHISPERS, in March of 2008, and is continually working on the “next big project”. Being comparatively new to the world of music for media, James tracks and is interested in the latest trends in marketing, networking, film / TV music placements, emerging artists in film, and other topics of similar interest to neophytes. You can find his SCOREcast bio (and links to his other sites) here.

Collaboration

More on this after the jump…

Ultimately, sound, music, and picture are collaborations between many people on a team. All that matters are the results, not necessarily the methods, or the equipment. Do clients REALLY care what version of software you are using, or method of making or mixing sounds? (Yes, there are standards and an expected high level of expertise). But, as mentioned here on SCOREcast several times, people skills and delivering as promised are always the bottom line. (Under-promise and over-deliver!) I am hoping to bring a perspective to our talks from a POST PRODUCTION angle of sound for picture. One finds that you will never stop learning and growing if you keep your attitude straight. As soon as you think you know a lot, it can be revealed that you may have a lot to learn. Watching and learning about ‘each person’s unique way’, can reap huge results in the long run.

There are two kinds of ‘people managers’- one that feels the need to surround him or herself with people who are as good as or better than them, elevating EVERYONE; and others who need to be the “top dog”, surrounded by lesser talent, and thereby no threats. I have observed some of the most successful people in our business over the last 29 years, and the common thread has been–collaboration. When the horses are allowed to “run the race”, letting artists “do what they do”, projects seems to move along in a smoother, happier way. Yes, there has to be a “mommy or a daddy”, someone to make the ultimate decisions and wrangle the project responsibly. When done in the spirit of cooperation and respect, each project is the better for it. A healthy ego and confidence are so important, but they thrive in a collaborative environment.

So, how does this relate to competition? Well, one thing I am hoping for is the chance to reach out to the musical community, finding common ground, and see what we can all do to make our projects more successful. I think anyone reading this can relate an experience where they arrived at the studio, or the mixing stage with one perception of a game plan, only to find others have a completely different view. Game planning, pre planning, laying out ideas in advance, can only benefit the creative choices that are coming. In a perfect world, everyone on a project would know in advance where music will take the lead in a scene; where sound effects will be leading the way, or, where silence will tell the story. Many times, we arrive on the stage, only to find that everyone has done the same work to tell the story, and then, serious editing and/or compromises are made. Too late. I am an advocate of meeting with the music department and the director early in a project, so that I can be apprised of thoughts and concepts, and help the film makers realize their story. This does not happen often enough. This can even relate to the technical side with sample rates, bit rates, and track numbers as well. All this requires a bit of extra legwork, of course. Pre planning for post may seem like a bit too much work, too early on. However, it can also save a score by allowing it to be “heard” to its fullest (and I don’t mean volume). Coordinating with the other creatives on a project can bring continuity, and reduce surprises later. Of course, the creative process of mixing will affect all the elements brought to a stage, and new ideas can flourish in the right environment. But I would encourage all of us to think a bit about how we can share common goals, and rise above the “competition”.

For example: many composers have been burned by a mix of their score somewhere down the line. Music was buried, or pared down, or not woven cleanly around dialog and effects. It does help to have a musical mixing crew who understand the “language” of music. Many times, music is handled as “audio wallpaper”..the final touch to the soundscape. (ouch). As a result, a few composers and editors will only deliver a composite track, so that their “mix” can not be altered. There is value in understanding that we on the dubstage should first “do no harm”. We shouldn’t be automatically eq-ing, or rebalancing because we “can”. However, if the goal is the story, then planning splits and track assignments in advance can HELP music to be played, rather than just lowering or raising an overall mix. If a melodic line is playing during a dialog scene, control over pads, and bg’s while softening another orchestra section can actually help the thread of music throughout a film. I will save discussion on splits and tracks and mixing in surround for another column, but this idea of preplanning and collaboration is essential to smart film making. Especially in these days of shrinking budgets with less time allotted for mixing. Although it may seem like expanding track counts delivered to a stage could possibly create MORE work, it actually helps in the long run. A bit of preplanning can go a long way to making a polished product.

Many times, it may not seem practical to work early-on with your post mixing crew. Like anything else in life, we are dealing with people. I think people LIKE to be included in the process. If we use the “KISS” rule (“Keep It Simple Stupid”), a tremendous amount of stress and concern can be relieved. Everyone wants the projects we work on to be the best they can be. Maybe adapting some simple rules of engagement can provide us all with smoother sailing and fewer surprises. Wouldn’t that be nice??? There have been countless times where we get surprised on the mixing stage unnecessarily. Valuable mixing time can be lost to simply setting up and patching! (Yes, we still have to “patch”).

I personally would rather plan in advance as best we can, and hit the ground running on the first day of a mix. To me, it is never desirable to be straining our collective brains figuring out how to lash it all up on the morning of the first day of the dub, and THEN start mixing. (especially with a room full of clients, editors and crew waiting to get going, at whatever rate they are paying) While we can not eliminate all surprises, and change is just about the only thing we can really count on (!), reducing these things only HELPS the creative process, and the hard work of dubbing.

If we think of the mixing console as a musical instrument, and a mixer as a conductor (for the director), all these concepts apply. The key to success is always in the preparation: wood shedding, practicing, planning, and learning the material. As a conductor shapes a musical performance, so does a mixer. Decisions are constantly made; some planned, many spontaneous, but always with purpose. There is not a conductor out there who does not plan what he or she wants to create. And ultimately it all serves the music, and in our case, the film as well.

“A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.”
— Stanley Kubrick

“I let the actors work out their ideas before shooting, then tell them what attitudes I want. If a scene isn’t honest, it stands out like a sore thumb.”
— David Lynch

“If somebody has a better idea than me, I’ll take it if it surpasses what we have on the page because at the end of the day, it’s me that takes the credit anyway!”
–Guy Ritchie

“A painter paints his pictures on canvas. But musicians paint their pictures on silence.”
— Leopold Stokowski

_____________

The contest isn’t over yet, but time is running out! There are still 6 days for you to get your entries in and win a Tonehammer Sampling package worth almost $200!

Here is what you need to do:
THE CHALLENGE
Write an amazing one minute piece of music, in a genre that you feel best encapsulates SCOREcast, make an .mp3 of your cue, and then email us the link to editor at scorecastonline dot com. If you do not have a website to upload your cue to in order to send a link, you may send the .mp3 file to the same address. (For a complete list of cue entry requirements, see below)

THE REWARD
Besides bragging rights and credit as the author of the theme for the Internet’s most listened to film scoring podcast? We’ll send you a two-library set from Tonehammer Sampling, consisting of their Epic Dhol Ensemble (16-bit version) and Epic Tom Ensemble libraries — a package worth almost $200!

Each entry will be judged by Deane, Lee, and Jai, so make them great — We are merciless!

The contest win run until midnight, February 14th, so get your entries in just as soon as you finish them up!

Happy composing!
_______________________________

THE RULES

1. Entries must be 60-75 seconds in length.
2. Entries can be in any genre — whatever you feel best represents SCOREcast.
3. Entries must be wholly original, and written specifically for this contest (We WILL thoroughly investigate this, so don’t be a wise-assl!).
4. Entries must contain at least one thematic element, whether tonal or melodic (What is a “theme” without a… ehem… theme?).
5. All entries must be submitted, either by link or by MP3, to editor at scorecastonline dot com.
6. All entries must be in by midnight, February 14th, 2010, to be eligible.
7. Authors of winning submissions give SCOREcastOnline.com the licensing rights to the cue for all future SCOREcast usage, broadcast, and branding, in perpetuity. Said license covers the Universe and is granted for the duration that SCOREcast uses the cue. SCOREcast takes no ownership of the music and all rights of ownership, publishing, and authorship remain with the Author or the Author’s assigns.
8. No person(s) connected with SCOREcastOnline.com as an author, staff member, or contributing editor, neither present nor past, will be eligible to participate in this contest.
9. One (1) entry per composer is allowed. Compose wisely!

TONEHAMMER Prize Details:

The winner of this contest will receive the following:

(1) Tonehammer Sampling’s Epic Dohl Ensemble (16-bit)
(1) Tonehammer Sampling’s Epic Tom Ensemble

• All Tonehammer libraries are Kontakt native and require Native Instruments Kontakt 2 / 3 / 4 full retail versions in order to operate.
• Free Kontakt Player will only work for 30 minutes with this product. Full version required to remove this restriction.
• Sample resolution: 44.1Khz/16Bit stereo .wav format  

THE RACE IS ON! It is OSCAR season, and in the spirit of this month’s theme of COMPETITION, we want to know who you think is going to win the ultimate prize for Best Achievement in Music Written for Motion Picture, otherwise known as “Best Score”. The nominations were announced today, and the coundown is on to the March 7th telecast.

More after the jump…

The consensus across the board is that 2009 was a “slow year” for film music. Compared to years past, last year didn’t really provide an obvious front-runner for the category of “Best Score”, but there are some pretty serious contenders on the nominations list, nonetheless.

Cast your vote in our OSCAR poll (located in the right-hand sidebar) and let us know in the COMMENTS why you chose the way you did. Additionally, if you think there is something that is not on this list that should be, fire away!

The topic of COMPETITION is an interesting one, and while the spirit of SCO itself has always been one of “knowledge sharing” and “idea swapping”, you might have noticed that writers and readers alike will share much, but not everything. As creatives — and creatives that are competing for the same creative jobs in a small pond of other creatives — the sharing of techniques, methods, and business practices is wonderful… until you give away all of your trade secrets, thus making yourself vulnerable to a larger number of people whom, up until you opened your big fat mouth, wouldn’t have ever thought to do what you just told them YOU do. Obviously, if you are a successful composer with a secret sauce for your success, this can pose a real problem when you want to be benevolent… or should I say… IF you want to be benevolent!

This month, we’ll be exploring all avenues of the idea of competition. From awards shows and accolades to marketing yourself and giving good meeting, it is ALL important in knowing how to compete at an optimum level.

I think you’ll find this month’s topic to be a fascinating one. I know that I’m looking forward to hearing what you all have to say in response to some of the issues that will be raised.

And speaking of that, log in below ANY article and COMMENT if you have a thought or an idea to add to the conversation. SCOREcast is all about “community”. SCO founder Deane Ogden likes to say that SCO’s main goal and purpose is to make “the working film music community smaller as it grows larger”. That depends on YOU. I know that some of you are lurking in the shadows, contemplating when the right time is to jump out and scare the hell out of the rest of us! DO IT! We want to know who you are.

Thanks so much for tuning in to the podcasts, reading up on the articles, and being a part of this incredibly vibrant community. We are here for you. Use us as a resource and keep us up to date on how things are going for you out in the trenches by utilizing the ShoutBox on the left side of the website.

As always, if you have any questions or need anything at all, please email me at editor @ scorecastonline dot com, and I’ll be happy to respond as quickly and best I can.

Happy February… and happy Competing!

For our first show of 2010, recording engineer, composer, and SCOREcast contributing editor Randy Knaub fills in at the co-hosting chair for Lee Sanders. Deane and Randy give their Top Gear picks from their trip to the 2010 Winter NAMM Show, and follow up on January’s “Getting the Gig” discussions with their own insights. They also give us a sneak preview of what’s to come in February — a focus on “Competition” during annual awards season.

Weigh in on this episode — we want to hear your thoughts! Head over to http://www.scorecastonline.com, check out this episode’s shownotes, and log into the COMMENTS to leave your opinions and participate in the discussion.

Product Links:

SCO, that’s what!

To remedy the situation, we are calling on our faithful SCOREcast listeners to come up with the perfect SCOREcast Podcast Theme!
Here’s your challenge: Write an amazing one minute piece of music, in a genre that you feel best encapsulates SCOREcast, make an .mp3 of your cue, and then send us the link to it here. If you do not have a website to upload your cue to in order to send a link, you may send the .mp3 file to the same address. (For a complete list of cue entry requirements, see below)

Your reward? Besides bragging rights and credit as the author of the theme for the Internet’s most listened to film scoring podcast? We’ll send you a two-library set from Tonehammer Sampling, consisting of their Epic Dhol Ensemble (16-bit version) and Epic Tom Ensemble libraries — a package worth almost $200!

Each entry will be judged by Deane, Lee, and Jai, so make them great — We are merciless!

The contest win run until midnight, February 14th, so get your entries in just as soon as you finish them up!

Happy composing!
_______________________________

Cue Entry Requirements:

1. Entries must be 60-75 seconds in length
2. Entries can be in any genre — whatever you feel best represents SCOREcast
3. Entries must be wholly original, and written specifically for this contest (We WILL thoroughly investigate this, so don’t be a wise-assl!)
4. Entries must contain at least one thematic element, whether tonal or melodic (What is a “theme” without a… ehem… theme?)
5. All entries must be submitted, either by link or by MP3, to this email address
6. All entries must be in by midnight, February 14th, 2010, to be eligible
7. Authors of winning submissions give SCOREcastOnline.com the licensing rights to the cue for all future SCOREcast usage, broadcast, and branding, in perpetuity. Said license covers the Universe and is granted for the duration that SCOREcast uses the cue. SCOREcast takes no ownership of the music and all rights of ownership, publishing, and authorship remain with the Author or the Author’s assigns.
8. No person(s) connected with SCOREcastOnline.com as an author, staff member, or contributing editor, neither present nor past, will be eligible to participate in this contest.
9. One (1) entry per composer is allowed. Compose wisely!

TONEHAMMER Prize Details:

The winner of this contest will receive the following:

(1) Tonehammer Sampling’s Epic Dohl Ensemble (16-bit)
(1) Tonehammer Sampling’s Epic Tom Ensemble

• All Tonehammer libraries are Kontakt native and require Native Instruments Kontakt 2 / 3 / 4 full retail versions in order to operate.
• Free Kontakt Player will only work for 30 minutes with this product. Full version required to remove this restriction.
• Sample resolution: 44.1Khz/16Bit stereo .wav format  

As the public date of release approached, however, EW continued to slide the release schedule ever later, resulting in what appeared to be several missed internal deadlines.

The wait is finally over. Sort of.

While the library still does not ship for another month, you can catch a glimpse of Hollywood Strings running on the PLAY Engine in this short video posted this morning to EW’s website.

Running a DAW natively at 64-bit in conjunction with plug-ins that take advantage of 64-bit processing enables the end user to bypass a critical issue inherent in 32-bit technology that has been known as the “RAM ceiling” among audio enthusiasts for quite some time.

Apple also updated their live performance software MainStage to support 64-bit mode and compatibility with both 32-bit and 64-bit Audio Unit plug-ins. Other new fixes include improved compatibility when importing layouts and patches exported from MainStage 1.x and more reliable MIDI input with grouped keyboard controls.

A long list of additional improvements for both updates is listed on Apple’s support Website.

YOU’RE WORKING FOR SOMEONE ELSE: It’s been a couple years since I first met my friend, fellow Austinite, and fellow SCOREcaster Brian Satterwhite. At the time I was just deciding to jump into film scoring, so I contacted him as a first step, to just pick his brain. The first thing he told me is the first thing I’ll say here: One of the biggest adjustments (maybe THE biggest adjustment) moving from being a “composer” to a “film score composer” is you have to realize you work for someone else. As a composer for years, I had grown accustomed to doing things my way in my music. Brian opened my eyes to the fact that if I consider my music as “my baby”, I’m in for heartbreak. He encouraged me to think of my music not as something I ushered from nothing, but as a work product. My job as a film composer is to meet the needs of the Director (not myself), to help tell the story, to support the effort. As a composer who usually did not work with anyone else, this was a significant adjustment. So if you’re just getting started, ask yourself if you’re ready to have someone listen to your labor of love, tell you it’s all wrong, make you throw it out and start again. The sooner you I got to that point, the better prepared I was to put my music with a picture. (By the way, thanks, Brian.)

SKETCHBOOK: I agree completely with Deane Ogden in his SCOREcast Online article “Check Your Attitude”, where he said, “Keep writing music. Don’t stop writing for a single second.” To fill up “down time” between gigs (which admittedly, so far is actually quite a bit), a started a “sketchbook”. This is just a folder in my computer where I put random ideas I have that aren’t intended for a specific purpose. As a writer may carry around a “little black book” to scribble ideas for stories in, or as visual artists may keep a sketch pad and pencils with them at all times, I keep a special place in my computer for sketches of my own. If I think of a passage, a particular chord progression, or whatever inspires me, I’ll record it into my sketchbook folder. This keeps me writing, even if I don’t have anything in particular to write for- keeps my pump primed, so to speak. But it also serves as a repository of ideas for when I do get a gig. For example, on my first film project, the Director and I got on Skype and I played a few short pieces for him from my sketchbook, as part of our “what should it sound like “conversation. While I didn’t use any of my sketches specifically on the film, it gave us a starting point.

PRACTICE DEADLINES: Another adjustment I had to make moving into film composing was deadlines. When I was writing just to write, I didn’t have to worry about deadlines, since I wasn’t meeting anyone else’s expectations. But on a film, due dates are critical, as is meeting them. So as you’re networking and searching for your first gig, writing in the meantime, assign yourself some deadlines. See what you can do. When you meet your first deadline, set another one- maybe with a more difficult musical assignment. Or go with a shorter timeframe… or both. And while I’m on the topic of deadlines, why not use a deadline to get your first gig? Then maybe your first paying gig?

WRITE A CD: This one really shows where I came from, and may not be applicable to everyone. I had always wanted to write music for film- but in addition and more generally, I just wanted to write music. So while I worked on how to actually “break in” to writing for media, I wrote plenty of music anyway. Eventually I had enough to put out a short CD, so I did. This not only gave me a sense of accomplishment, but it also brought in some income from sales. But the best benefit was just in having some of my music out on the web for people to check out. Some of the work I’ve gotten so far has been because I put some of my music on the web, and someone else found it.

CONSIDER YOUR FAMILY: Another consideration before you jump into your first gig headfirst- is your family aware of what the project will require? I imagine that the family and friends of seasoned film composers sort of expect when their beloved composer husband / father / wife / whatever gets a new gig, they won’t be seen very much. But to a new composer on their first project, the concept that “daddy is writing and can’t be disturbed” will be new, confusing, and probably not entirely fun. Add to that the fact that you probably won’t be paid much for these early gigs, which really throws the cost-benefit out of whack. So as you look for your first jobs, make sure your family is on board and they know what it’ll be like when you get that job.

IMPLICATION ON THE DAY JOB: We’ve discussed on SCOREcast Online the idea of composers keeping a “day job” while trying to break in to the business. While some say doing this takes away work from the folks who are 100% dedicated to writing film music for their living, others see it as a necessary evil until they can make enough income to make the switch to film composing full time. I see both sides of the argument, but for this article, it is what it is. Like it or not, people need to keep the bilge pumps running until they can switch careers, so there will always be folks working a day job while they try to break in. Think of all the “actors” who take your order in restaurants, just until they break in. Same thing.If you’re just getting your first gig, chances are pretty good that you have another job. As you get the composing job, it’s a good idea to consider how the gig will impact your day job. Will you be so focused on composing AND managing your day job that you’ll be running on 2 hours of sleep a day? If so, you’re doing a disservice to your day job employer, your Director, and yourself. It won’t help anyone. Also, will your composing gig present a conflict of interests in your day job? Will your composing project compete with your day job employer?

SMALL STEPS: Last, this may be another no-brainer, but think carefully and honestly about your capabilities as you search for your first (or next) gig. While I think we should always push ourselves, we should be aware of our capabilities well enough to know when we are overextending ourselves. Like trying to be productive and creative on 2 hours of sleep a day because you have to keep a day job, getting in over your head on a composing project is another thing that helps no one. For me, the best I can do is to evaluate and accept projects carefully, then delight my Director and other stakeholders in the project. Then, everyone having had a good experience with me, I can prepare for my next project, which will be bigger and better than the previous. It would be bad at this point in my career if I were to get a reputation for under-delivering (or NOT delivering) for any reason. Saying “no” to projects I can’t handle can probably be more beneficial to my career than saying “yes” to projects I suspect I can handle.

These are just a few things I’ve learned from my first couple gigs as a composer for media. Any other wisdom appreciated- let’s hear it in the comments.

_____________
JAMES OLSZEWSKI is an independent artist and percussionist with a passion for film music. James composed, produced, and released his first orchestral CD, SPEAKING IN WHISPERS, in March of 2008, and is continually working on the “next big project”. Being comparatively new to the world of music for media, James tracks and is interested in the latest trends in marketing, networking, film / TV music placements, emerging artists in film, and other topics of similar interest to neophytes. You can find his SCOREcast bio (and links to his other sites) here.

With the myriad things going on in your studio, when would you ever have time to network, email, stay in touch, and just generally mine for other gigs? Not to mention cutting demos, researching new opportunities, and all of the things that go into sustaining a healthy career as a film composer.

What do you do? Hire someone to help, which will cost you more out of pocket? Rearrange your day so that you have more time to hunt for gigs, thus sacrificing important writing time? What is the best answer?

We want to help. First, let’s identify how you do it now, and then we can tackle what the best way might be to start doing it.

Cast your vote in our GETTING THE GIG poll (located in the right-hand sidebar) and let us know in the COMMENTS why you chose the way you did. Additionally, if you think there is something that is not on this list that should be, fire away!