Sydney`s Trackdown Scores With Buyout Remote Recording Sessions

FILM MUSIC weekly
ISSUE 49 • FEBRUARY 5, 2008 • Published weekly by Global Media Online, Inc. • Publisher: Mark Northam • www.filmmusicweekly.com
Sydney’s Trackdown Scores With
Buyout Remote Recording Sessions
n Sydney, Australia’s Trackdown
Scoring Stage has announced the
completion of its latest project
for a US film score with the remote recording of John Powell’s
score to the upcoming feature
film Jumper starring Hayden
Christensen and Samuel L. Jackson.
The score was recorded remotely without any of the US
music production team needing
to be present in Sydney, with
the composer in his home studio
in Los Angeles giving instructions to Trackdown engineer Tim
Ryan, conductor Brett Weymark
and the Sydney Scoring Orchestra via a realtime audio and
timecode linkup. Music prep and
copying was handled by Sydney’s
Jigsaw Music headed by Jessica
Wells, who also served as orchestrator with James K. Lee. Other
Copyright Board Begins
Mechanical Royalty
Rate Hearings
n On January 28, the Copyright
Royalty Board (CRB) began hearings that will determine mechanical rates for composers, songwriters and music publishers. In
addition to setting rates for physical products, rates will be set for
digital downloads, subscription
services and ringtones.
The National Music Publishers’ Association (NMPA) says they
will be representing the interests
of writers and publishers. In opposition to the NMPA, the Recording
FILM MUSIC RADIO:
SCORING NEWS:
CD REVIEW:
THE CHART DOCTOR:
MUSIC TECHNOLOGY:
Industry Association of America
(RIAA) and the Digital Music Association (DiMA) have proposed
significant reductions in mechanical royalty rates.
NMPA President & CEO David Israelite stated, “The current
rate for physical phonorecords is
9.1 cents. The RIAA has proposed
slashing the rate to approximately 6 cents a song - a cut of more
than one-third the current rate!
For permanent digital downloads,
(continued pg.3)
Sydney personnel on the project
included assistant orchestrators
Daniel Baker and Bryce Jacobs
and copyists Laura Bishop and
Natalie Williams.
The music was recorded under a buyout agreement with no
residuals as is standard with
Australian score recording orchestras.
(continued pg.3)
Harry Fox Agency
Upgrades Online
Mechanical Licensing
n Music licensing organization
The Harry Fox Agency, Inc. (HFA
has upgraded its Songfile online
mechanical licensing service by
lowering the minimum quantity
of licenses to 25 copies for all formats, and adding electronic check
as a payment option. Songfile can
be used by musicians who plan to
make and distribute 2,500 copies
or less of their recordings to obtain the necessary licenses for
cover versions of songs. Licenses
can be obtained for CDs, cas-
settes, LPs, or permanent digital
downloads (DPDs).
“We surveyed over 32,000
Songfile users, and a smaller
transaction minimum was a
top request,” said HFA’s CEO
& President Gary Churgin. “We
expect that the electronic check
option will be a big help for individuals and organizations that
don’t have credit cards yet still
wish to use the service. If you did
not write the song you recorded,
Daniel Schweiger interviews composer Marco Beltrami
“Powder Blue” (Aaron Zigman), “My Zinc Bed” (Simon Boswell) and more
Daniel Schweiger reviews “Monstrous Movie Music”
“Taking A Button And Sewing A Vest On It” by Ron Hess
“Is It 64bit Yet?” by Peter Alexander
(continued pg.3)
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FILM MUSIC weekly
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Editor: Mikael Carlsson
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FMR
This Week on
FILM MUSIC RADIO
ON THE SCORE
MARCO BELTRAMI
Film music journalist
Daniel Schweiger interviews
composer
MARCO BELTRAMI,
who turns his musical vision to
terror again with
THE EYE.
.
LISTEN NOW
ISSUE 49 • FEBRUARY 5, 2008
FILM MUSIC weekly
INDUSTRY NEWS
Sydney’s Trackdown Scores With Buyout Remote
Recording Sessions
(continued. from pg 1)
A key element of the Trackdown remote
recording setup is a real-time 128 kb/s audio
link between the studio and the U.S. composer that utilizes Source Elements’ Source
Connect Pro plug-in software for Pro Tools.
There are two separate headphone sends established from the composer’s US studio to
Trackdown – one to speak privately with the
conductor, and another to allow the composer
to speak to the entire orchestra. A live stereo
monitor mix is sent from Trackdown to the
composer’s studio, and timecode is sent from
Trackdown to the composer’s sequencer that
allows the sequencer to lock to the sessions
and send synth guide and backing tracks to
Trackdown that are heard by the orchestra
as they record.
This is the third film score of John Powell’s that Trackdown has recorded. His engineer Shawn Murphy, (Star Wars, Mission
Impossible, Harry Potter) considered one of
the world’s leading orchestral film score engineers, first experienced Trackdown when he
came to Sydney to record John Powell’s score
to Happy Feet. Since then he has overseen
two “virtual” Powell scores (the first being PS
I Love You) recorded at Trackdown.
Trackdown offers a full range of music
services for feature film and TV, including
Australia’s largest purpose built orchestral
scoring stage located at The Entertainment
Quarter (adjacent to Fox Studios Australia).
Scoring credits include Happy Feet, Aquamarine, Romeo X Juliet, Typhoon, Salem’s Lot,
and PS. I Love You. Trackdown also features
music editing facilities including six ProTools
suites headed by engineers Simon Leadley
and Tim Ryan, whose music editing credits
include Happy Feet, Aquamarine, Peter Pan,
Master & Commander, No Reservations, Disgrace, Inspector Gadget II, George of the Jungle II and Moulin Rouge.
For more information about Trackdown, visit
www.trackdown.com.au
Copyright Board Begins Mechanical Royalty Rate
Hearings
(continued. from pg 1)
NMPA is proposing a rate of 15 cents per
track because the costs involved are much
less than for physical products. The RIAA
has proposed the outrageous rate of approximately 5 to 5.5 cents per track, and DiMA is
proposing even less. For interactive streaming services, which some analysts believe
will be the future of the music industry,
NMPA is proposing a rate of the greater of
12.5% of revenue, 27.5% of content costs, or
a micro-penny calculation based on usage.
The RIAA actually proposed that songwriters and music publishers should get the
equivalent of .58% of revenue. And DiMA
is taking the position that songwriters’ and
music publishers’ mechanical rights should
be zero, because DiMA does not believe we
have any such rights!”
SGA counsel Charles J. Sanders stated,
“The independent songwriter community,
through its own strong voice, is united in its
efforts to lead the fight for fair compensation for creators and copyright owners in the
current mechanical royalty rate hearings.
Songwriters stand shoulder to shoulder with
their music publisher partners in this strug-
gle, and will brook no attempts - whether instigated by foes or professed but conflicted
allies - to unduly influence or disrupt our efforts to guarantee equity over extinction for
music creators.”
The initial hearing will last four weeks,
with the three permanent Copyright Royalty
Judges hearing arguments Mondays through
Thursdays from 9:30 a.m. - 4:30 p.m. each
day. At the conclusion of the initial hearing,
there will be more discovery, followed by a
rebuttal hearing in May, and a final decision
expected on October 2.
Harry Fox Agency Upgrades Online Mechanical
Licensing
(continued. from pg 1)
you need a mechanical license, and
HFA wants to make that process as
simple as possible.” Customers can create an account with the Songfile service,
search HFA’s catalog of almost 1.9 million
songs, and complete their mechanical licensing transaction in minutes. Royalties are calculated at the statutory mechanical rate (currently 9.1¢ per copy for songs 5 minutes or
less in length, or 1.75¢ per minute (or fraction
thereof) per copy, for songs over 5 minutes).
There is also a nominal processing fee on each
FILM MUSIC weekly ISSUE 49 • FEBRUARY 5, 2008
song licensed. If a user just wants to conduct
research, there is a separate Songfile Public
Search tool on the website available free of
charge.
Mechanical licenses are required under
U.S. Copyright Law if one wants to duplicate
and distribute a recording of a song that is
owned by someone else. Through proper licensing, the publisher, and ultimately, the
songwriter, are compensated for the use of
their work. Duplicators and online music sites
require copies of licenses before replicating re-
cordings or offering them online.
Customers must be conducting business
in the U.S., and have a valid credit card or
checking account with a U.S. billing address.
Licenses for songs on physical products and
for DPDs must be obtained in separate transactions. For physical products, users are able
license multiple songs for one physical album
at a time, or users can obtain up to 50 separate
DPD licenses in a single transaction.
For more information, visit www.harryfox.com
3
SCORING NEWS
THIS WEEK’S MAJOR
SCORING ASSIGNMENTS
Aaron Zigman:
Powder Blue
Prolific composer
Aaron Zigman, who
scored eight (!) films
last year, has added
two new films to his
filmography on his
official website. The
first one is Powder
Blue, a drama written and directed by
Vietnamese helmer Timothy Linh Bui
(Green Dragon) and featuring an impressive cast including Jessica Biel, Forest
Whitaker, Ray Liotta, Lisa Kudrow,
Patrick Swayze and Kris Kristofferson.
The film takes place on Christmas Eve
where four strangers come together by
a mixture of circumstances. The other
new film added to Zigman’s work list
is Flash of Genius, a drama directed
by Marc Abraham, who is making his
helming debut after many years in the
producer’s chair (among the films he has
produced are Children of Men, Dawn of
the Dead and Air Force One).
Paul Haslinger:
While She Was Out
Paul Haslinger is
doing the music for
While She Was Out,
a thriller starring Kim
Basinger, Lukas Haas
and Craig Sheffer.
Produced by Angry
Films, for whom
Haslinger scored Shoot ’Em Up last year,
it’s based on a short story by Edward
Bryant about a woman who goes for a
quick shopping tour and ends up in a
desolate forest fighting for her life. Susan
Montford, who produced Shoot ’Em Up,
directs. Haslinger’s other upcoming films
include Prom Night and Make It Happen.
Alex Wurman:
Five Dollars a Day
Alex Wurman (Anchorman: The Legend
of Ron Burgundy,
Talladega Nights:
The Ballad of Ricky
Bobby, Confessions
of a Dangerous
Mind) provides the
original score for Five Dollars a Day, a
comedy starring Christopher Walken and
Sharon Stone. It’s directed by Nigel Cole,
who previously worked with Wurman on
4
the romantic comedy A Lot Like Love
in 2005. The film is produced by Capitol
Films and Carol Baum Productions for release by Thinkfilm later this year. Wurman
has also recently scored The Promotion,
another comedy by Steve Conrad who
wrote the screenplay for The Pursuit of
Happyness.
Simon Boswell:
My Zinc Bed
Simon Boswell, the British composer
who has written stylish scores for films
such as Hackers, Shallow Grave and A
Midsummer Night’s Dream, is currently
scoring My Zinc Bed, a drama starring
Uma Thurman and Jonathan Pryce. It’s
based on David Hare’s play and directed
by Anthony Page, a 72-year-old veteran
who is making his first feature film since
1993! The film tells the story about a
recovering alcoholic who falls in love with
his boss’ wife. HBO Films and BBC
co-produce for release this year. Boswell
was recently nominated to an International Film Music Critics Association Award
for his TV score Tinman.
THE SCOREBOARD
Panu Aaltio: The Home of Dark Butterflies.
Tree Adams: Emilio • Farewell Bender.
Eric Allaman: Race.
John Altman: The Master Builder • Shoot
on Sight.
Marco D’Ambrosio: Say Hello to Stan
Talmadge.
David Arnold: How to Loose Friends and
Alienate People • Bond 22.
Alexandre Azaria: L’auberge rouge.
Niclas Baby: Cortex.
Luis Bacalov: L’uomo privato.
Angelo Badalamenti: The Edge of Love •
Secrets of Love.
Klaus Badelt: Heaven and Earth • Killshot
• Dragon Hunters.
Roque Baños: Las 13 Rosas • The Oxford
Murders.
Lesley Barber: A Thousand Years of Good
Prayers.
Nathan Barr: Watching the Detectives •
Tortured.
Tyler Bates: Day of the Dead • Doomsday
• Watchmen • The Day the Earth Stood
Still.
Kyle Batter: Secret Society (co-composer).
Jeff Beal: Where God Left His Shoes •
Salomaybe? • The Deal • The Pixar Story.
Christophe Beck: Drillbit Taylor.
Marco Beltrami: In the Electric Mist with
Confederate Dead.
Jean-Michael Bernard: Be Kind Rewind
• Détrempoez-vous.
Charles Bernstein: Tenebrous.
Doug Besterman: Exit Speed.
Scott Bomar: Maggie Lynn.
by MIKAEL CARLSSON
[email protected]
Simon Boswell: Bathory.
Jason Brandt: Something’s Wrong in
Kansas.
David Buckley: Town Creek • The Forbidden Kingdom (co-composer).
Kenneth Burgomaster: Garfield’s Fun Fest
• Hero Wanted.
Mickey Bullock: Sportkill • Orville.
Carter Burwell: In Bruges.
Edmund Butt: The Waiting Room.
Niall Byrne: How About You.
Brian Cachia: Gabriel.
Peter Calandra: The Sickness.
Paul Cantelon: The Other Boleyn Girl.
Jeff Cardoni: Save Me • American Pie:
Beta House.
Nigel Clarke & Michael Csányi-Wills:
The Grind.
George S. Clinton: Harold and Kumar 2.
Elia Cmiral: The Deaths of Ian • Missionary Man • Tooth and Nail.
Chandra Cogburn: Fiesta Grand • Orgies
and the Meaning of Life • The Bard: The
Story of Robert Burns.
Graham Collins: Black Kissinger.
Juan J. Colomer: Dark Honeymoon.
Eric Colvin: Mariposa.
Normand Corbeil: Ma fille, mon ange •
Boot Camp • Emotional Arithmetic.
Jane Antonia Cornich: Solstice.
Bruno Coulais: Max & Co • Les Femmes
de l’ombre.
Burkhard Dallwitz: The Interrogation of
Harry Wind • Chainsaw.
Jeff Danna: Lakeview Terrace (co-composer) • The Imaginarium of Doctor Parnassus
(co-composer).
Mychael Danna: Lakeview Terrace (cocomposer) • The Imaginarium of Doctor
Parnassus (co-composer).
Carl Davis: The Understudy.
Erik Desiderio: He’s Such a Girl.
Marcello De Francisci: The Butcher.
Wolfram de Marco: The Tribe.
Jessica de Rooij: Postal • Tunnel Rats •
Far Cry • Seed.
John Debney: Big Stan • Bachelor No. 2
• Starship Dave • Swing Vote • Old Dogs
• Sin City 2.
Tim DeLaughter: The Assassination of a
High School President.
Alexandre Desplat: Largo Winch.
Ramin Djawadi: Fly Me to the Moon • The
Tourist • Iron Man.
Pino Donaggio: Colpe d’occhio.
James Michael Dooley: Bachelor Party 2 •
Little Mermaid III • Impy’s Island 2.
Patrick Doyle: Nim’s Island • Igor.
Ludek Drizhal: Life Goes On • The Next
Race • The Sno Cone Stand Inc.
Clint Eastwood: Grace Is Gone.
Randy Edelman: The Mummy: Tomb of
the Dragon Emperor.
Jonathan Edwards: The Golden Boys.
Steve Edwards: Finding Rin-Tin-Tin • The
Neighbor • The Intervention • Sharks in
Venice.
Cliff Eidelman: He’s Just Not That Into You.
Danny Elfman: Wanted • The Sixth Element • Hellboy 2: The Golden Army.
Stephen Endelman: Redbelt.
Paul Englishby: Miss Pettigrew Lives for
a Day.
Tom Erba: Chinaman’s Chance.
Ilan Eshkeri: The Virgin Territories.
Evan Evans: The Mercy Man • You’re
Nobody ‘Til Somebody Kills You • The Poker
Club • Jack Rio.
Nima Fakhara: Lost Dream.
Guy Farley: The Flock • The Christmas
Miracle of Jonathan Toomey • Knife Edge •
Dot Com • The Broken • Dylan.
George Fenton: Fool’s Gold.
Chad Fischer: The Babysitters.
Robert Folk: Kung Pow: Tongue of Fury •
Magdalene • Vivaldi.
Jason Frederick: Good Chemistry • Bears.
John Frizzell: Henry Poole Is Here.
Michael Giacchino: Speed Racer • Star
Trek XI.
Vincent Gillioz: The Appearance of Things
• Portal.
Scott Glasgow: Toxic • The Gene Generation • Bone Dry • Lo • The Bridge to
Nowhere.
Philip Glass: Les animaux amoreux.
Erik Godal: The Gift • Ready Or Not • Irreversi.
Jonathan Goldsmith: Tenderness.
Christopher Gordon: Mao’s Last Dancer •
Daybreakers.
Jeff Grace: Trigger Man • I Sell the Dead
• Liberty Kid.
John Graham: Long Flat Balls 2.
Harry Gregson-Williams: Jolene • The
Chronicles of Narnia: Prince Caspian
• G-Force • Wolverine • The Forbidden
Kingdom (co-composer).
Rupert Gregson-Williams: You Don’t
Mess With the Zohan • Made of Honor.
Andrew Gross: Forfeit • National
Lampoon’s Bag Boy • Diamond Dog Caper.
Larry Groupé: Love Lies Bleeding • The
Hungry Woman • Straw Dogs.
Andrea Guerra: The Accidental Husband.
Robert Gulya: Atom Nine Adventures.
Steven Gutheinz: Rothenburg.
Richard Hartley: Diamond Dead.
Paul Hartwig: Holiday Beach • Tyrannosaurus Azteca.
Richard Harvey: Eichmann • Les Deux
Mondes.
Paul Haslinger: Prom Night • Make It Happen • While She Was Out.
Paul Heard: Clubbed.
Alex Heffes: My Enemy’s Enemy • State
of Play.
Reinhold Heil & Johnny Klimek: Blackout.
Christian Henson: Zomerhitte.
Eric Hester: The Utopian Society • Lost
Mission • Frail.
Tom Hiel: A Plumm Summer.
David Hirschfelder: Shake Hands With
the Devil.
Ben Holbrook: Kiss the Bride.
Trevor Horn: Kids in America.
ISSUE 49 • FEBRUARY 5, 2008
FILM MUSIC weekly
Film Music Weekly’s “The Scoreboard” only lists scoring assignments that have been confirmed to us by official sources.
The list is limited to feature film scoring assignments. New additions are highlighted in red print.
James Horner: The Spiderwick Chronicles
• The Boy in Striped Pyjamas • Avatar.
Richard Horowitz: Genghis Khan •
Kandisha • The Whisperers.
James Newton Howard: The Happening
• The Dark Knight (co-composer).
Terry Huud: Plaguers.
Søren Hyldgaard: Red.
Alberto Iglesias: The Argentine • Guerrilla.
Mark Isham: Pride and Glory • The
Express.
Corey Allen Jackson: Idiots and Angels.
James Jandrisch: American Venus.
Adrian Johnston: Sparkle • Brideshead
Revisited.
Bobby Johnston: American Fork • Stuck •
Hotel California • Happiness Runs.
Evan Jolly: Tonight Is Cancelled.
Tim Jones: Cryptid.
David Julyan: Eden Lake.
George Kallis: Antigravity.
Tuomas Kantelinen: Quest for a Heart •
Arn: The Knight Templar • Mongol.
Yagmur Kaplan: The Elder Son • The
Lodge • Broken Windows.
Laura Karpman: Out at the Wedding.
Kenji Kawai: L – Change the World • Orochi • The Sky Crawlers.
Rolfe Kent: Spring Break in Bosnia • Sex
and Death 101.
Wojciech Kilar: Black Sun.
Mark Kilian: Before the Rains.
David Kitay: Shanghai Kiss • Blonde
Ambition.
Harald Kloser: 10,000 BC.
Abel Korzeniowski: Terms.
Penka Kouneva: Midnight Movie • The
Gold and the Beautiful.
Ivan Koutikov: Wanted Undead Or Alive •
Living Hell.
Aryavarta Kumar: The Rapture • Greater
Threat.
Nathan Larson: August • Choke.
Jim Latham: Greetings from the Shore •
Swishbucklers • Parental Guidance Suggested.
Craig Leon: Maestro.
Geoff Levin: Triloquist • The Rat Thing •
Agenda • The Fallen.
Michael A. Levine: Adrift in Manhattan.
Krishna Levy: Le nouveau protocole.
Christopher Libertino: Off the Grid – Life
on the Mesa • The Forgotten Kingdom.
Gary Lionelli: Oswald’s Ghost.
Jason & Nolan Livesay: Bounty • Limbo
Lounge • Little Iron Men.
Andrew Lockington: Step • Journey 3-D.
Joseph LoDuca: Bar Starz • My Name Is
Bruce • Boogeyman 2.
Henning Lohner: Kleiner Dodo.
Helen Jane Long: Surveillance.
Erik Lundborg: Absolute Trust.
Deborah Lurie: Spring Breakdown.
Vivek Maddala: They Turned Our Desert
Into Fire.
Nuno Malo: Mr. Hobb’s House.
Mark Mancina: Sheepish • Camille • Without a Badge • Like Dandelion Dust.
Aram Mandossian: The Last Resort.
Harry Manfredini: Black Friday • iMurders
• Impulse • Anna Nicole • Dead and Gone.
Clint Mansell: Definitely, Maybe.
David Mansfield: Then She Found Me •
The Guitar.
Dario Marianelli: Far North • Hippie Hippie
Shake • The Soloist.
Anthony Marinelli: Grizzly Park.
Gary Marlowe: Los Pereyra • Das echo
der Schuld.
Phil Marshall: Live.
John McCarthy: The Stone Angel.
Mark McKenzie: The Redemption of Sarah
Cain.
Joel McNeely: The Tinkerbell Movie.
Nathaniel Mechaly: Taken.
Matt Messina: The Least of These.
Guy Michelmore: Doctor Strange • Bono,
Bob, Brian and Me.
Randy Miller: Last Time Forever • Shanghai Red • Second Chance Season.
Robert Miller: The Key Man • Trumbo • On
the Hook • Wherever You Are.
Sheldon Mirowitz: Renewal • Operation
Filmmaker.
Richard G. Mitchell: Almost Heaven.
Charlie Mole: Fade to Black • I Really Hate
My Job • St. Trinian’s.
John Morgan: The Opposite Day (cocomposer).
Paul Leonard-Morgan: Popcorn.
Trevor Morris: Matching Blue • Krews.
Mark Mothersbaugh: Quid Pro Quo •
Cloudy with a Chance of Meatballs.
Hélène Muddiman: Skin.
Sean Murray: The Lost • Clean Break.
Peter Nashel: Wedding Daze.
Javier Navarrete: His Majesty Minor • Mirrors • Inkheart • Fireflies in the Garden.
Blake Neely: Elvis and Anabelle • The
Great Buck Howard • Surfer Dude.
Roger Neill: Take • Scar.
David Newman: Welcome Home Roscoe
Jenkins.
Joey Newman: Safe Harbour.
Randy Newman: Leatherheads • The Frog
Princess.
Thomas Newman: Nothing Is Private •
Wall-E • Revolutionary Road.
David James Nielsen: Reclaiming the
Blade.
Marinho Nobre: Left for Dead.
Adam Nordén: Everybody’s Dancing •
Wolf • De Gales hus.
Julian Nott: Heavy Petting.
Paul Oakenfold: Victims.
Dean Ogden: Oranges • Knuckle Draggers
• A Perfect Season • The Sensei.
Norman Orenstein: Diary of the Dead.
John Ottman: Valkyrie.
John Paesano: Shamrock Boy.
Heitor Pereira: Suburban Girl • The Canyon
• Running the Sahara • South of the
Border.
Mark Petrie: The Road to Empire • Lake
Dead • Mr. Blue Sky • Valley of Angels •
Farmhouse.
Leigh Phillips: War Made Easy • Still Life.
Martin Phipps: Grow Your Own.
Nicholas Pike: It’s Alive • Parasomnia.
Nicola Piovani: Odette Toulemonde.
FILM MUSIC weekly ISSUE 49 • FEBRUARY 5, 2008
Douglas Pipes: Trick r’ Treat • City of
Ember.
Steve Porcaro: The Wizard of Gore •
Cougar Club.
John Powell: Horton Hears a Who •
Jumper.
Michael Price: Sugarhouse Lane • Agent
Crush • Wild Girl.
Trevor Rabin: Get Smart.
Didier Lean Rachou: How to Rob a Bank •
An American in China.
Brian Ralston: Graduation • 9/Tenths.
Jasper Randall: Me & you, Us, Forever •
The Secrets of Jonathan Sperry.
Joe Renzetti: 39 • Universal Signs.
Graeme Revell: Pineapple Express • Days
of Wrath • The Ruins • The Nightwatchman.
Graham Reynolds: I’ll Come Running.
Zacarías M. de la Riva: The Last of the
Just • The Anarchist’s Wife.
Carmen Rizzo: The Power of the Game.
Matt Robertson: The Forest.
Douglas Romayne: In Zer0: Fragile Wings.
Philippe Rombi: Bienvenue chez les
Ch’tis.
Brett Rosenberg: The Skeptic.
William Ross: Our Lady of Victory.
Laura Rossi: The Cottage.
David Glen Russell: Contamination.
Hitoshi Sakamoto: Romeo x Juliet.
H. Scott Salinas: Strictly Sexual • What
We Did on Our Holidays.
Anton Sanko: Life in Flight.
Gustavo Santaolalla: I Come With the
Rain • On the Road.
Brian Satterwhite: Cowboy Smoke •
Maidenhead.
Mark Sayfritz: Sake • The Shepherd.
Brad Sayles: The Bracelet of Bordeaux.
Dominik Scherrer: Good Morning Heartache.
David Schommer: War, Inc.
Misha Segal: Lost at War • Shabat Shalom
Maradona.
Marc Shaiman: Slammer.
Theodore Shapiro: The Mysteries of
Pittsburgh • The Girl in the Park • Semi-Pro
• Tropic Thunder • The Heartbreak Kid •
Nowhereland.
George Shaw: Victim • Sailfish.
Edward Shearmur: Passengers • Bill •
College Road Trip • Righteous Kill.
Ryan Shore: Numb • Jack Brooks – Monster Slayer • Shadows.
Vince Sievers: The Source.
Carlo Siliotto: La Misma Luna • The Ramen Girl.
Alan Silvestri: G.I. Joe.
Emilie Simon: Survivre avec les loups.
Marcus Sjöwall: Dreamkiller.
Cezary Skubiszewski: Death Defying Acts
• Disgrace.
Damion Smith: Stompin.
Jason Solowsky: 110%: When Blood,
Sweat and Tears Are Not Enough • L.A
Takedown • Unemployed • North by El
Norte.
Maarten Spruijt: The Seven of Daran Battle of Pareo Rock.
Marc Streitenfeld: Body of Lies.
William T. Stromberg: TV Virus • Army
of the Dead • The Opposite Day (cocomposer).
Jina Sumedi: Sextet.
Johan Söderqvist: Walk the Talk • Let the
Right One In.
Joby Talbot: Son of Rambow.
Frédéric Talgorn: Asterix at the Olympic
Games • Dragon Hunters.
Francois Tétaz: Rogue.
Mark Thomas: Tales of the Riverbank.
Gregory Tripi: Secret Society (co-composer).
tomandandy: The Koi Keeper.
John van Tongeren: War Games 2 - The
Dead Code.
Pinar Toprak: Blue World • Dark Castle •
Serbian Scars • Say It In Russian • Ocean
of Pearls.
Jeff Toyne: Within • Late in the Game.
Michael Tremante: If I Didn’t Care.
Gregory Tripi & Kyle Batter: Dark Storm •
Termination Point.
Ernest Troost: Crashing.
Brian Tyler: The Heaven Project.
Shigeru Umebayashi: A Simple Love
Story.
Cris Velasco: Prep School.
Reinhardt Wagner: L’Heure zéro.
Michael Wandmacher: The Killing Floor •
Train • Never Back Down.
Stephen Warbeck: Flawless • Miguel and
William • The Box Collector.
Matthias Weber: Silent Rhythm.
Craig Wedren: Little Big Men.
Richard Wells: The Mutant Chronicles.
Cody Westheimer: Benny Bliss and the
Disciples of Greatness • Hysteria.
Alan Williams: For the Love of a Dog • Act
Your Age • Snow Princess • He Love Her,
She Loves Him Not • The Velveteen Rabbit.
David Williams: The Conjuring.
John Williams: Indiana Jones and the
Kingdom of the Crystal Skull • Lincoln.
Patrick Williams: Mikey and Dolores.
Tim Williams: Afterthought • The Passage
• Starcrossed.
Austin Wintory: Captain Abu Raed • Mr.
Sadman • Grace.
Debbie Wiseman: Amusement • The Hide.
Chris Wood: Zombies Ate My Prom Date.
Lyle Workman: Forgetting Sarah Marshall.
Alex Wurman: Five Dollars a Day • The
Promotion.
Gabriel Yared: Manolete • The No. 1
Ladies Detective Agency • Adam Resurrected.
Christopher Young: Sleepwalking • A Tale
of Two Sisters.
Geoff Zanelli: Delgo • Outlander • Ghost
Town.
Marcelo Zarvos: What Just Happened?
Aaron Zigman: Lake City • Meet the
Browns • Step Up 2 the Streets • Flash
of Genius
• Blue Powder. Hans Zimmer: Frost/Nixon • Casi Divas
• Kung Fu Panda • The Dark Knight (cocomposer).
Atli Örvarsson: Vantage Point • Babylon A.D.
5
CD REVIEW
by DANIEL SCHWEIGER
[email protected]
A Creepy-Crawly Label Gets Down
To De-Thawing
The Classic Thrill Tracks
Title: Monstrous Movie Music
Composer: Various
Label: Monstrous Movie Music
Suggested Retail Price: $19.95
Grade: B+
W
ho can forget the shrieking, lurching
orchestras that accompanied every
behemoth, killer robot, homicidal alien, cavedwelling mutant and super-powered maniac
that flooded double bills through the 1950’s and
60’s? Certainly not producer David Schecter,
whose label Monstrous Movie Music has done
a better job than an atomic bomb blast of reawakening the musical likes of Them, The Beast
From 20,000 Fathoms, The Creature From The
Black Lagoon, This Island Earth and It Came
From Outer Space. Their wonderfully bombastic
scores have previously been re-conducted by
Masatoshi Mitsumoto, who did an amazing job
of capturing every lumbering, ooo-wee-ooo nuance that have burned these larger-than-terror
melodies into our youthful memories.
Now with MMM’s new releases of The Blob
and The Intruder, Schecter takes a giant stride
backwards – releasing the original source material instead of reperforming it. And the result is
every bit as much fun, even if the scores’ sonic
tentacles have an understandable age to them.
Yet perhaps the most famous musical thing
about 1958’s The Blob is its jazzy title song,
penned by none other than Burt Bacharach
and Mack David, whose career beginnings had
them dealing with devilish gelatin as opposed
to the latter likes of Dionne Warwick and
Dusty Springfield. It’s an infectiously fun ditty
for mouth pops, handclaps and chorus, a song
that might be the coolest pop hit next to Bobby
Pickett’s “Monster Mash.”
However, the Bacharach-David tune is
almost misleadingly fun when it’s followed by
Ralph Carmichael’s actual Blob score. Effectively done with a budgetarily restrained orchestra,
Carmichael gets across an appropriately grim
6
vibe here – one that’s unexpectedly subdued
when compared to other frenetic monster scores
of the period. And even though most of the music slithers along effectively with ominous brass
and strings, Carmichael’s Blob score does offer
some nice romantic detours. It’s the kind of lush
music best experienced in a hot rod’s back seat
before getting devoured.
But what really steals the show on the Blob
CD is the inclusion of cues from the Valentino
Production Music Library. Written by such
composers as Mario Nascimbene (One Million
Years B.C.) and A.F. Lavagnino (Gorgo), these
often goofily eerie numbers were meant to
provide musical horror by the pound, letting the
low-budget likes of The Brain That Wouldn’t
Die and Daughter Of Horror “compose” their
scores out of stock music. So chances are you
heard these library selections a zillion times
on the Creature Feature, which accounts for
the nostalgic thrills of “Aggression,” “Celestial
Wonder” and “Spell of the Unknown.” The titles
literally had to say it all for perspective buyers.
And while many these tracks are undeniably
goofy, cues like the harpsichord-driven “Birds in
Flight” and the Batman-esque rock jazz of “Mob
Scene” work nicely in their own right. They
have just the right stuff to entice music-hungry
hacks that have about a hundred clams to buy
a score with.
Though Roger Corman’s The Intruder can’t
exactly be called a horror film, its story of a
racist rabble-rouser (played brilliantly by William Shatner) was a hell of a lot more frightening than most of the producer-director’s genre
efforts. This unique 1961 offering also gave
the equally prolific composer Herman Stein a
welcome break to do something outside of his
stalwart work on such exploitationers as The
Mole People, The Creature Walks Among Us,
Tarantula and Love Slaves Of The Amazon. And
Stein’s talent for fearsome melody served The
Intruder well, beginning with its driving, anxious theme that tells of a very bad man arriving
in the small-town south. It’s a superb piece of
relentless menace, worthy of Herrmann’s work
for Hitchcock. And Stein continues to build his
tension, but with a real sense of humanity to it
– no more so than in music that has the kind of
stirring, religious nobility that wouldn’t be out
of place in The Ten Commandments. Topping
his dramatic score off are some cool jazz pieces,
whose session players include no less than
Benny Carter and Buddy Collette.
By the time that melodic nobility wins over
hatred, The Intruder’s score proves itself to be
a real highlight in Stein’s cannon. And it’s a
tribute to MMM that they’ve opened their horizon beyond Saturday matinees to release this
powerful score (as well as including such addition Steiner treasures as his wonderfully pokey
score to the industrial film Career For Two,
and a newly performed piano concerto). But if
anything connects the albums of The Blob and
The Intruder, it’s a sense of true geek love that
MMM infuses its releases with, from their surprisingly good production values to Schecter’s
exhaustively hilarious liner notes for them. I
look forward to MMM’s continuing countdown
of my Creature Feature favorites, even as they
look beyond it.
n
BUY THE CD’S HERE:
•www.mmmrecordings.com
ISSUE 49 • FEBRUARY 5, 2008
FILM MUSIC weekly
FILM MUSIC weekly ISSUE 49 • FEBRUARY 5, 2008
7
THE CHART DOCTOR
by RON HESS
[email protected]
Taking A Button
And Sewing A Vest On It
I
’m sure that reader Douglas Romayne
spoke for many in our fraternity when he
wrote me inquiring about orchestrational
strategies (without sampler skullduggery)
that will coax the thrills of a big orchestra
out of a more modest one. In his letter, he
agreed that “a good orchestrator can make 40
players sound like 60, while a bad orchestrator can make 60 sound like 40.” Very true,
but not for the obvious reasons you might
think. “Sound like” really means “to be perceived as” and that’s where your opening lies.
First, though, we must come to grips
with our definition of “big” and it’s
not completely synonymous with
“loud.” A huge component of “big”
is “satisfying,” and it means that
your audience listens with ears,
not VU meters. Those ears have
hundreds of years of programming
in them, and can be fulfilled by
some very common-sense strategies, two of the most paramount
being architecture and variety.
Perhaps the most direct realsensation aspect of bigness is good,
complete harmonic/pitch/overtone
architecture. The law of gravity
rules us all, even as composers.
Consequently, all good structures need good
foundations. Bigness is not just having a
loud bottom, although it can help. The real
magic comes from a complete bottom, which
means not just a single bass line, no matter
how massively doubled, but reinforcement of
its overtones as well. Without wanting to embark on an all-day sucker here, the overtone
series (with its larger intervals at the bottom
and progressively shrinking ones as you go
up) is a good model to emulate in building
powerful, mud-free, satisfying structures (see
example 1).
Additionally, to maximize the power of
your voicings, generally try to eliminate
significant “holes” in your vertical structures, unless you are using them for the
sake of variety. Constantly doubling up your
instruments, contrary to popular belief (and
especially if it results in other bases left
8
uncovered), actually can shrink the impression you create. Put on your engineer’s and/
or producer’s ears and listen carefully to your
favorite recordings and notice the completeness of the sonic structure.
A second component of “satisfying” is also
one of the most basic principles taught in any
good arranging course: variety (usually referring to motifs and ideas). As orchestrators,
we adopt the same concept, only we think
instrumental color, we think dynamics, and
we watch our textures and dramatic effects
over time.
An obvious start is the use of a greater
palette of instruments. For instance, trading
in some strings for percussion can be a great
investment. Brass obviously can lend more
“heft” than some woodwinds. Harp, with all
its glisses, versus piano. However, the real
goldmine (often untapped) lies in getting
maximum variety out of each instrument you
already have, so dig deep: different brass
mutes, bowing techniques, woodwind trills,
articulations, percussion effects, trombone
glissandi, and symbiotic instrumental doublings, to name a few. The richer the palette
you can bring to the ears of your audience,
the more you interest and satisfy and the
stronger your impression of bigness.
With dynamics, perceived largeness isn’t
really an absolute, but is more naturally a
matter of contrast. A master of this principle
was Gustav Mahler, whose “big” symphonic
moments are so overwhelming simply because they are just moments, interspersed
with incredibly delicate interludes. Taken by
themselves, they would just fatigue the ear
(and burn out the brass section).
Thirdly, you can find satisfaction through
variety in the dramatic effects you produce
over time. Of course, in underscoring, most
of that discretion is taken away from you, but
how you respond isn’t. Not all action needs
testosterone and not all tender moments need
vanilla pudding. By mixing up your use of
playing with and against the scene, you can
satisfy and stimulate in ways not
even consciously perceived by the
listener.
I am a charter member of CELA
(Composers’ Ensemble, Los Angeles),
a unique chamber orchestra composed of 12 players, composer-conductors all, who cover the principal instruments of the standard orchestra:
4 woodwinds, 3 brass, and 5 strings,
no percussion. Spawned 11 years ago
as a lab group for conducting practice, we quickly discovered the compositional possibilities open to us and
we consequently produce and perform
all our own music. Being limited in
forces (one on the podium leaves only 11 in
the ensemble) but not in colors forced us to
innovate and find ways to indulge our thirst
for the grandest sound possible.
While discussing all the ways that good
orchestration gets that “big sound” was
beyond the scope of this article, the above
fundamental strategies should start you
down your own path of discovery. In future
columns, we will take a closer look at individual aspects of this huge topic.
n Ron Hess works as a studio conductor, orchestrator,
copyist and score supervisor in Los Angeles, where he’s
well-known for his quick ability to ferret out the most hidden performance problems and spot score glitches rapidly.
He holds a Master’s Degree from the New England Conservatory, and is considered one of the top Finale experts
in Los Angeles. Email your questions to Ron at
[email protected]
ISSUE 49 • FEBRUARY 5, 2008
FILM MUSIC weekly
FILM MUSIC weekly ISSUE 49 • FEBRUARY 5, 2008
9
MUSIC TECHNOLOGY
by PETER LAWRENCE ALEXANDER
[email protected]
Is It 64bit Yet?
O
ne of the hidden gems of NAMM was the
quiet announcement from Vienna that in
a few weeks, it will release a Mac/PC version of
Vienna Ensemble (version 3) that sends over
LAN (local area network) cables both MIDI and
audio data between the computer(s) running the
Vienna Instrument and the host computer. This
means that other than the main host computer
which has both an audio card and MIDI interface, that any computer running Vienna Instruments using Vienna Ensemble 3 will not need
either an audio card or hardware MIDI interface.
This is the promise that captured many who
sequenced on the PC (including myself) who
used the Russian-made FX-Teleport. It’s a great
concept that eliminated black spaghetti (cables!)
from the studio.
For Mac users, the long-term promise was
that FX-Teleport would be ported over to the
Mac, but it’s yet to happen. See http://fx-max.
com/bb/viewtopic.php?t=1941.
The market failure of FX-Teleport is really
a tragedy for the community. That only one
computer would need an audio card and MIDI interface represents in a typical composer’s studio,
savings of literally thousands of dollars.
What we will face now is the Vienna Ensemble program (listing at 95 Euros according to
the Vienna website) working in both the Mac and
PC (good news for sure) and shortly, a similar
multiplatform entry from EastWest supporting
PLAY.
Many composers run programs from both companies.
The technical question we’ll all have to
answer is whether or not the host computer
and sequencing/digital audio software, on both
platforms, can handle two different, but similar,
audio/MIDI/LAN (AML) programs. In theory, it
should work.
But, who knows?
Then, we will have to confront how we’ll deal
with non-EW/VI programs that lack their own
virtual mixing board approach.
Here, there may be some hope from
TASCAM when GigaStudio 4 is released. With
GigaStudio 4, you’ll have a feature that allows for
Virtual Instruments to be run in it.
Kontakt and Vienna Instruments should be
able to run in it, according to Jeff Laity, Market10
ing Manager at TASCAM. In a response on the
VI forum Mr. Laity said that GS 4 would ship
64bit ready and handle up to 128GB of RAM.
According to Mr. Laity, TASCAM has already run
very successful tests with the Vienna Instruments, but as yet had no time to test Kontakt.
For those with Giga machines, the GS4 update looks very appealing for this very practical
application.
But, there are some glitches along the way.
While GS4 may be 64bit, and the Vienna
Ensemble may be 64bit, at this point, neither VI,
EW PLAY, nor Native Instrument products are
64bit. They’re still 32bit.
VI and EW are scheduled to be 64bit shortly.
Hidden away in a small quote was the announcement that VisionDAW had already created a
workstation capable of running the entire QLSO
library on one system. But Native Instruments
announced it would not be 64bit until late 2008.
So should you jump to a 64bit system just yet?
For me, since I’m running the Vienna Instruments, yes, it makes sense, but I’m willing to wait
so that I’m not paying to beta test.
Happily, the Vienna folks, unlike many other
software developers, not only reported a recent
specs test but also posted the parts list! This was
followed up with two posts from Chris Marin, the
“Scotty” of the Vienna Symphonic Library, with
a cogent explanation of which parts he selected
and why.
According to Herb Tucmandl, VSL president,
his new dream machine sports 32GB of RAM and
loaded just under ½ gigabyte of samples.
Here’s the list with street pricing where I could
find it.
Supermicro Server-1U Rack 6015A-NT $1100 (the SuperServer 6015A-NTV/B features
the Super X7DBGU motherboard, Intel 5000X
chipset, and supports up to two Intel Xeon processors, up to 32GB PC2-4200 or PC2-5300 DDR
SDRAM, and up to four hot-swap SATA hard
drives. It has a 560W high-efficiency power supply and dual-port Gigabit Ethernet controller).
Intel Xeon double processor 5160 - 3GHZ - $1100
ECC RAM BC2 5300 677 MHZ CL5 - $3200 (you
can buy 8GB RAM kits)
Fortunately, Mr. Marin published his parts list
rationale.
Several considerations had influence on
the decision for the SS6015 - chipset, processor,
memory and the 16x PCIe slot.
Whereas the 6015A holds only 32 GB RAM
but has the 16x PCIe for a dual screen setup with
a radeon 1950, the 6015B would take actually 64
GB RAM - for several reasons we also added a
dual controller FW400 / FW800 PCI-X expansion
card.
At the date of purchase the XEON 5160 (3
GHz) and the XEON 5150 (2.66 GHz) had a
reasonable price so we decided to try both (2 processors per machine, 2 cores per processor) - there
is not too much noticeable difference, neither with
the Vienna Ensemble nor with other CPU hungry
applications.
The motherboard also allows PCIe and PCIX riser cards and the PCI bus can be set to any
value between 33 and 133 MHz so allowing tests
with several audio devices (currently a *legacy*
PCI Hammerfall multiface) though a VE-network
solution wouldn’t even need an audio device, nor
would it in fact need a dual screen graphic card.
As posted earlier these are multi-purpose
machines and if you are looking for a VE slave
any Intel 5000 series motherboard would be good
enough, actually a modern Core™ 2 Duo would
do the job if there were any motherboards out
there holding more than 8 GB RAM.
The quad core 2.66 version with 16 GB RAM
is almost identical to the older Mac Pro - another
setup with Boot Camp and Vista 64 performs
exactly as well as the SuperMicro running XP64
... it is just MUCH more silent ;-)
As Herb pointed out, it seems there is absolutely no difference with VE-network between Mac
Pro 10.4 / 10.5 /Boot Camp + Vista 64 and a
comparable other Intel 5000 board running XP64
or Vista 64, but a G5 PPC performs significantly
less well and interestingly also puts additional
load on a connected host.
The sequencer machine mentioned above is
a rather *old* Pentium V (IIRC P4C-800 board)
3 GHz, but it looks like it would allow even
some more tracks to be inserted before the CPU
overloads. Another setup with a Core™ 2 Duo
MacBook Pro as host and any Intel-based VE
slave showed similar results.
Ahhh - the hard disks .... my (Continued pg 11)
ISSUE 49 • FEBRUARY 5, 2008
FILM MUSIC weekly
MUSIC TECHNOLOGY
Is It 64bit Yet?
(continued from pg 10)
*darlings* the Western Digital Raptor 10k rpm are used as system drive
[$250 per unit] and the Seagate 1 TB SATA II for data [$350 per unit].
How to configure the drives is not completely tested yet - the SATA controller allows many modes. Two raptors mirrored for system and 2 Seagates
stripped for samples looks like a usable config, but in theory the single drive
AHCI mode should be faster ... it is just a driver issue for XP and Vista, the
drivers seem to be not really optimized currently.
Selecting RAM is somehow a lottery beyond 8 GB and I would recommend to use only sticks certified by the respective manufacturer.
The used KINGSTON 2GB DDR2 PC2-5300 667MHz CL5 ECCx4 fully
buffered single rank are slightly below the specification (and significantly
cheaper) but the distributor guaranteed they work flawless up to 16 GB per
machine - in fact it seems they also work up to 32 GB per machine.
In working up the street prices, this system comes to just under
$7,000US.
Say what?
n Peter Alexander is preparing to score The Good Samaritan. His most recent books are
How Ravel Orchestrated: Mother Goose Suite, and Professional Orchestration. He has also
written White Papers on music education.
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Professional Orchestration 2A:
Orchestrating the Melody Within the String Section is a hit.
A great publication! You perfectly met the needs of so many musicians - it's an
incredibly valuable source of knowledge! I like also very much its clear structure
and the way you explain complex things. A "must" not only for students, but for
every musician dealing with samples and "orchestral sound".
Peter Siedlaczek
Advanced Orchestra
Classical Choirs
String Essentials 2
The new book is amazing! It builds on the first book by adding more explanations,
MIDI programming advice and film scoring concerns. I can't imagine a more
exhaustive study or more organized collection of string writing. You can precharge my card for books 2B through 8.
Jeff Laity
Marketing Manager
TASCAM
I would highly recommend this book to any student or working professional wishing
to learn or expand their knowledge of orchestration. If you intend to work
professionally the skills imparted by the studies presented here will be of enormous
benefit and will give you a professional advantage for your entire career.
Garry Schyman
BioShock
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FILM MUSIC weekly ISSUE 49 • FEBRUARY 5, 2008
11