Apr 18, 2019 | Daily Film Scoring Bits, Technical
Getting Used to Different Monitoring Whenever you work in a different monitoring situation than the one that you’re used to, spend some time to get to know the system acoustically. Especially on scoring stages or mixing studios where it is really essential to have a...
Apr 17, 2019 | Composition, Daily Film Scoring Bits
9-1 Resolutions In practically any chord type and progression you can add very filmic sounding inner voices by relying on the 9-1 resolution. When you for example use a C major chord it will give you a colourful inner voice when some instrument (apart from the bass of...
Apr 16, 2019 | Daily Film Scoring Bits, Film Scoring
Setting a Time Period with Music e of the many functions of film music is to set a time. This is especially helpful in period pieces and can be a big part of the concept. However, just as with geographic hints in the music, most of the time it works best with the...
Apr 15, 2019 | Daily Film Scoring Bits, General
A Composer’s Unique Selling Point If you seriously want to pursue a career as fulltime composer, you should try to develop a strategy that sets you apart from the rest of the people in the business. The world doesn’t need yet another “media composer doing every...
Apr 12, 2019 | Daily Film Scoring Bits, Orchestration
Glockenspiel Orchestral Use The Glockenspiel is a fantastic instrument to highlight soft chords or double a melody. It works especially well to play the highest note of a pointillistic chord or line on the Glockenspiel. However, when doubling very active melodies on...
Apr 11, 2019 | Daily Film Scoring Bits, Technical
Revisiting Cues in the Same Recording Session When recording with real musicians, try to get a perfect take of a cue while you’re at it. It usually doesn’t work that well to revisit a cue “if we have time at the end” in order to get a better take. It will take almost...
