Apple Releases Logic Studio

FILM MUSIC weekly
ISSUE 31 • SEPT.19, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com
AFM Reports “Dramatic Increase” in Scoring
With New Videogame Buyout Agreement
The American Federation of Musicians
is reporting a “dramatic increase” in the
volume of videogame scoring projects utilizing large orchestras after implementing a new buyout scoring agreement for
videogames. Contractors and videogame
composers contacted by Film Music Magazine also report an increase in AFM vid-
eogame scoring agreements since the new
buyout agreement was made available.
“AFM musicians have for many years provided the highest quality music for cinema
productions, sound recordings and many other
categories within the entertainment industry.
The AFM has stood by these musicians, ensuring they are fairly compensated for their sig-
nificant contributions,” said AFM International
President Thomas F. Lee.
Lee continued, “The same excellence in
musicianship is demanded in the video game
world. These agreements will enable video
game companies to have access to the best professional recording musicians in the U.S. and
Canada, while offering... p:3
Apple Releases Logic Studio
Christopher Young
Gets Career Award
Apple
has
released Logic
Studio, a comprehensive
suite of professional tools for
music creation,
production and
performance in studio and live scenarios. Logic Studio features Logic Pro 8, a
major upgrade that combines a new interface and introduces MainStage, a new
live performance application for using a
Macintosh computer as a live rig.
Logic Studio also includes Apple’s Soundtrack Pro 2 pro audio post production software; Studio Instruments; Studio Effects, and
Studio Sound Library.
“From the fun and intuitive GarageBand
to the all new Logic Studio, there’s never been
a better time to be a musician on the Mac,”
said Rob Schoeben, Apple’s vice president of
Applications Product Marketing. “For less
than $500, Logic Studio transforms the Mac
into the most powerful musical instrument in
the world.”
A central feature of Logic Studio is Logic
Pro 8 which utilizes a single-window interface
for instant access to music creation and production functions, including snap-to-transient
selection and sample accurate editing direct-
Spider-Man 3 composer Christopher Young
was honored at the 13th
Annual Temecula Valley International Film &
Music Festvial with the
award for Outstanding
Career Achivement in
Film Composing.
The black tie gala took place on September
16 at the Pachanga Resort and Casino Ballroom. Young joins a prominent company of
musicians and film personalities who have received previous Career Achievement Awards
at the festival: Dionne Warwick, Robert Wise,
Carl Reiner, John Badham, Rita Coolidge, Billy Preston, and Diane Ladd, to name a few.
Christopher Young’s latest blockbuster film
score was Spider-Man 3. He has written music for over 80 films, contributing particularly
influential works in the horror and thriller
genres: Hellraiser, The Fly II, Jennifer 8, The
Grudge and Ghost Rider. He has also scored
dramas such as The Shipping News and Murder in the First and comedies such as The Man
Wno Knew Too Little and Lucky You.
The 13th Annual Temecula Valley International Film & Music Festival was presented by
Cinema Entertainment Alliance, a nonprofit
arts and education organization dedicated to
celebrating world cinema and music. mc
ly in the Arrange window. Also included are
audio production tools such as Quick Swipe
Comping and dynamic channel strip creation
designed to speed up common tasks. Logic Pro
8 also includes end-to-end surround production capabilities with surround panning controls, multichannel tracks and busses, and
support for True Surround software instru-
ments and effects.
Logic Studio is now available for a suggested retail price of $499. Registered Logic
Pro 7 users can upgrade to Logic Studio for
$199. Customers who purchased Logic Pro 7
on or after August 1, 2007 are eligible for a
free upgrade to Logic Studio ($9.95 shipping
& handling). Full system requirements and
more information on Logic Studio including a
list of certified, compatible hardware and software, can be found at:
http://www.apple.com/logicstudio.
CD Review: Skinwalkers
MORE INSIDE:
n You can file Skinwalkers under the great-score-for-probably-awful-movie file, but when you listen to this rampaging, symphonically rich score by
Andrew Lockington, you’d assume that it was tailored for an epic summer
blockbuster instead of a shaggy dog werewolf flick.. p:7
p:5 signings & projects
p:10 THE CHART DOCTOR:
Don’t Get Caught In A Bind
p:11 THE SCOREBOARD
FILM MUSIC weekly
Publisher: Mark Northam
Editor: Mikael Carlsson
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Copy Editor: Lisa Rawson
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Soundtrack Review Editor:
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Accounting: Tina Chiang
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2
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ROB ZOMBIE AND TYLER BATES
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Film music journalist Daniel Schweiger interviews director-writer
ROB ZOMBIE and composer
TYLER BATES, who team for a
terrifying new spin on the sound of
HALLOWEEN.
TUNE IN HERE!
ISSUE 31 • SEPT. 19, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
AFM Reports “Dramatic Increase”
in Scoring With New Videogame
Buyout Agreement
The American Federation of Musicians is reporting a “dramatic increase” in the volume of videogame scoring projects utilizing large orchestras after implementing a new
buyout scoring agreement for videogames. Contractors and videogame composers contacted by Film Music Magazine also report an increase in AFM videogame scoring agreements since the new buyout agreement was made available.
OPENING THIS WEEK
THEATRICAL
• Across the Universe (Elliot Goldenthal)
• Eastern Promises (Howard Shore)
• Into the Wild (Michael Brooks)
• The Jane Austen Book Club (Aaron Zigman)
• The Last Winter (Jeff Grace/Anton Sanko)
• Resident Evil: Extinction (Charlie Clouser)
DIRECT-TO-DVD
“AFM musicians have for many years provided the high • The Dead One (Tony Humecke)
est quality music for cinema productions, sound recordings
• A Dog’s Breakfast (Tim Williams)
and many other categories within the entertainment indus • The Flying Scotsman (Martin Phipps)
try. The AFM has stood by these musicians, ensuring they are
• The Gymnast (Craig Richey)
fairly compensated for their significant contributions,” said
• Pittsburgh (David Gregory Byrne)
AFM International President Thomas F. Lee.
• Straightheads (Ilan Eshkeri)
Lee continued, “The same excellence in musicianship is
demanded in the video game world. These agreements will
enable video game companies to have access to the best professional recording musicians in the U.S. and Canada, while
offering more work and important benefits for our members.”
“The musicians of the AFM are the finest recording musicians in the world. Their musicianship and speed is
truly amazing. I will always fight to record every project on a union contract to make sure that those who contribute their artistry and prowess to a score are rewarded properly for their hard work,” commented Christopher
Lennertz, a composer with Sonic Fuel.
“The new video game approach is both bold and courageous in its design. The sudden flood of work we are experiencing is a direct result of this global and forward thinking contract. I applaud the AFM for finally opening the
spigot of video game recording to our membership,” said a San Francisco violinist who played in a recent scoring
session.
AFM President Thomas F. Lee
Dave Weiss, a New York recording musician is also optimistic about the new videogame work. “NY area composers and developers are now using Union talent here in NYC, whereas before, the high likelihood was that video game work would have gone overseas,
non-union, or on a synth. This is a good start, on which we can build for more employment opportunities in the future for AFM members.”
Jay Schaffner, Local 802 (NYC) Recording Department Supervisor, speaks to the potential for increased work for AFM members: “We have had a very
positive response to the Game Agreement – from people who have in the past recorded Game Music in New York (nearly all non-union); from game composers who live in the area and look forward to doing more work here rather than halfway around the world; and from film composers who are striking
out into this arena for the first time. This is all good news for Local 802 members because of the potential increase in recording work.”
Janet Ketchum, contractor, also sings the praises of the new approach. “I recently contracted orchestras for a stream of video game work recorded at
Skywalker Ranch, which produced more than $450,000 in musicians’ and music prep wages with increased pension, health and welfare over the course
of the summer,” says Ms. Ketchum. “This is a victory for all AFM recording musicians.”
FILM MUSIC weekly ISSUE 31 • SEPT. 19, 2007
3
FILM MUSIC NEWS
Mikis Theodorakis to Receive
Lifetime Achievement Award
Greek composer Mikis Theodorakis,
whose classic film scores include Zorba
the Greek and Serpico, will receive the
Lifetime Achievement Award at the World
Soundtrack Awards in Belgium in October.
Born in 1925, Theodorakis is one of Greece’s
best-known musicians and an icon in its cultural life for more than 40 years – he has also
been active as a politician and a member of the
parliament and minister.
Internationally, he became a well-known
composer with a unique voice thanks to his
film scores Zorba the Greek, Z and Serpico.
The award will be handed out to Theodorakis during the Ghent International Film Festival in Belgium on October 20. The Flemish Radio Orchestra, conducted by Dirk Brossé, will
perform music from Zorba the Greek in honor
of the composer. mc
For more information about the World
Soundtrack Awards, visit:
http://www.worldsoundtrackawards.com
THE A-LIST
TOP AGENCIES
The most prolific film music agencies according
to the current U.S. box office statistics, September 14-16, 2007:
1 (new) Air-Edel Associates (UK) - $14.0m
• The Brave One (Dario Marianelli) - $14.0m
2 (4). Gorfaine-Schwartz Agency - $12.4m
• Mr. Woodcock (Theodore Shapiro) - $9.1m
• Balls of Fury (Randy Edelman) – $3.3m
3 (1). First Artists Management – $11.1m
• Superbad (Lyle Workman) - $5.2m
• Rush Hour 3 (Lalo Schifrin) - $3.3m
• Shoot ‘Em Up (Paul Haslinger) - $2.6m
4 (2) Greenspan Artists Management – $9.1m
• 3:10 to Yuma (Marco Beltrami) - $9.1m
Randy Edelman
Film & TV Music
Hired to Score The Award Noms Close
Mummy 3
Sep. 20
Randy Edelman
follows
up Jerry Goldsmith’s
and
Alan Silvestri’s
scores in Universal’s Mummy feature film
series, scoring
Rob
Cohen’s
upcoming The
Mummy: Tomb
of the Dragon
Emperor.
Veteran composer
Randy
Edelman and director Rob Cohen have
worked together on many films, beginning
with Dragon: The Bruce Lee Story in 1993.
Since then, Edelman has written the music
for another three of his films, and The Mummy 3 will be their fifth collaboration. Brendan Fraser returns to the franchise, and
other cast members include Maria Bello, Jet
Li, Michelle Yeoh and John Hannah.
Randy Edelman, who is represented by
Gorfaine-Schwartz Agency, has recently
scored comedies Balls of Fury, Underdog and
The Last Time. He is also doing the music for
27 Dresses, a romantic comedy directed by
Anne Fletcher and scheduled to be released
next year by Fox 2000. The Mummy: Tomb
of the Dragon Emperor will premiere on August 1 next year. The signing of Edelman to
the picture has been confirmed to Film Music Weekly by Universal Pictures. mc
4
Nominations for the 2007 Film
& TV Music Awards will close at
midnight Thursday September 20.
Film & TV Music Academy members
worldwide can nominate people for
the awards program online using the
organization’s custom online nomination and voting systems.
The top five nominations in each of
over 30 award categories will be announced on October 1, and from October
1 through October 15, members of the
Film & TV Music Academy can cast their
votes.
“We’re thrilled about this new awards
program – it’s about time that awards
were given to the film and television music industry, by the film and television
music industry. There are enough other
awards programs where the financial
success of a show or movie seems to be
the primary emphasis – with the Film &
TV Music Awards, the focus is exclusively
on the quality of the music as judged by
one’s peers in the industry,” said awards
founder Mark Northam.
The Film & TV Music Academy is the
voting body that has been created for the
awards. Membership is available at no
cost and is open to anyone working in or
studying to work in the film and television music industry worldwide.
To join The Film & TV Music Academy
or nominate people for Film & TV Music
Awards, visit:
http://www.filmtvmusicawards.com
5 (3). Soundtrack Music Associates - $5.0m
• Halloween (Tyler Bates) - $5.0m
6 (4). Kraft-Engel Management - $4.2m
• The Bourne Ultimatum (John Powell) – $4.2m
Source: IMDb
Sonivox Releases
Sonic Implants
Symphonic Harp
for Kontakt
Sonivox has announced the release
of their Symphonic
Harp sample library
for the Kontakt platform.
The Sonivox Harp, recorded in the same space
as Sonivox’s Symphonic Collection, is a
collection of sampled harp tones and glissandi including a variety of programming
features.
“We’re excited to be able to offer our
Symphonic Harp in Kontakt2 format.
On top of what was already an excellent
product, the Kontakt2 glissandi scripting
really gives our users the kind of flexibility and performance they crave,” says Pete
Drawbridge, Senior Soundware Engineer
at Sonivox.
For more information, visit:
http://www.sonivoxmi.com
ISSUE 31 • SEPT. 19, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
SIGNINGS & PROJECTS
.&("4"7*/(40//&8
&"458&45#6/%-&4
Hans Zimmer:
Frost/Nixon
n Universal Pictures has confirmed to Film
Music Weekly that Hans Zimmer will score
Ron Howard’s political drama Frost/Nixon.
This will be their third film together – the
majority of Howard’s films have been scored
by James Horner, but he has also worked with
composers such as Randy Newman, John Williams and Thomas Newman. Hans Zimmer
wrote the acclaimed score for Howard’s hit film version of The Da Vinci
Code last year. He is currently also involved as a music consultant on
Vantage Point, which is currently being scored by one of his previous
team members, Atli Örvarsson. mc
EastWest is clearing out its inventory to make way for
the new EW Play sample player. All the QLSO inventory
has got to go! And you benefit. Buy now for FREE
upgrade to Play upon release.
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Jeff Rona:
The Gathering
n Jeff Rona is currently scoring a miniseries
for Sony Television called The Gathering. It’s
a thriller series about a man who searches
for his wife who has disappeared without a
trace. Peter Fonda, Peter Gallagher, JamieLynn Sigler and Jenna Boyd stars in the series which will air on Lifetime. Rona, whose
previous credits include feature films White
Squall, Exit Wounds and The In-Crowd, has also recently written the
music for Highlander director Russel Mulcahy’s TV movie Crash n’
Burn starring David Moscow and Erik Palladino. mc
Michael Wandmacher:
Get Some
n Michael Wandmacher reunites with the director of Cry Wolf, Jeff Wadlow. He has been
hired to score his new film, Get Some, an action flick starring Djimon Housou, Sean Faris
and Amber Heard. Cry Wolf, released in 2005,
featured a stylish score that was a landmark
in Wandmacher’s career, followed last year by
The Killing Floor. His other credits include
Max Keeble’s Big Move and the video games
Madagascar and Over the Hedge. Wandmacher is also doing the score for Gideon Raff ’s Train, starring Thora Birch
and Derek Magyar. mc
Gold Pro Bundle / QL RA /
Symphonic Choirs / Bosendorfer 290 PMI
7*#VOEMFXBT
Now $895.00
Colossus / QL RA / Symphonic Choirs
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Now $1,290.00
Platinum Pro Bundle / Symphonic Choirs
)633:0/-:8)*-&450$,4-"45
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Recommended by winners of the
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also the only orchestration book whose
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FILM MUSIC weekly ISSUE 31 • SEPT. 19, 2007
5
NES_flyer2_rgb_final2.pdf
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5:15:30 PM
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Y
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ISSUE 31 • SEPT. 19, 2007
FILM MUSIC weekly
NEW SOUNDTRACKS
Skinwalkers
Composer: Andrew Lockington
Labels: Movie Score Media
Suggested Retail Prices: 19.95
Grade: B+
SEPTEMBER 25
• Flood (Debbie Wiseman) – Silva Screen
• The Kingdom (Danny Elfman) – Varèse Sarabande
• Lust, Caution (Alexandre Desplat) – Decca
• Musica de Cine 2: Alan Silvestri – RTVE (Spain)
• Michael Clayton (James Newton Howard) – Varèse Sarabande
• Sea of Dreams (Luis Bacalov) – Varèse Sarabande
By: DANIEL SCHWEIGER
Soundtrack Editor
FILM MUSIC weekly ISSUE 31 • SEPT. 19, 2007
OUT THIS WEEK
• Across the Universe (Beatles/Elliot Golden-
thal) – Interscope
• The Last Winter (Jeff Grace/Anton Sanko) – MovieScore Media
• Right at Your Door (tomandandy) - Lake
shore
ALBUM REVIEW
It takes a determined man to run a
“hard copy” soundtrack label, especially
in a world where sending scores to the
sonically inferior land of iTunes has
become the rage – when studios deem
that score worthy enough to be released
at all. So credit goes to Mikael Carlsson
and his Movie Score Media label for unleashing exceptional scores to movies
you’ll probably never see – among them I
Capture the Castle, The Rocket Post and
Shadow in the Trees. But it’s harder to think of
a cooler release for the label than Skinwalkers.
Like Joel McNeely’s more-than-worthy soundtrack to another box office disaster called I
Know Who Killed Me, you can file Skinwalkers
under the great-score-for-probably-awful-movie
file. Because when you listen to this rampaging,
symphonically rich score, you’d assume that it
was tailored for an epic summer blockbuster instead of a shaggy dog werewolf flick.
I shouldn’t cast stones at a movie I’ll likely
never see. But I can definitely say that Andrew
Lockington’s score for Skinwalkers will be getting plenty of spins on my CD player. Hearing its
real talent for full-blood orchestration, the first
thought that hits the seasoned soundtrack listener is “Who the heck is this guy?” The answer
is that Lockington got his chops as an orchestrator for Jeff Danna on Ride With the Devil and
The Boondock Saints, all before scoring such indies as Saint Ralph and Cake. I never saw those
movies either, but Andrew Lockington sure was
doing something right to land this far bigger
assignment. And no matter its gross, Skinwalkers music has an astonishing richness that just
might stand as the best lupine score since Pino
Donaggio’s beastly strings for The Howling.
But perhaps the better idea to understand
Skinwalkers’ come-from-nowhere impact is
to look at the early work of James Horner and
Christopher Young, composers who got their
breaks doing orchestral scores for such lowbudget horror as Humanoids from the Deep
and The Dorm that Dripped Blood – scores that
overlooked their goofy subjects to go for the melodic jugular. And in Skinwalkers’ case, Lockington tears it out – conjuring a hypnotic, moonlit
world that often bursts into savage action. Exotic percussion, rock-tinged samples and lush
orchestrations fight for dominance, yet coalesce
into an impressive whole. It’s a musical beast
ALBUMS COMING SOON!
OCTOBER 2
• Dan in Real Life (Sondre Lerche) - Capitol
• The Monster Squad (Bruce Broughton) – Intrada
that’s at once noble, yet capable of ripping you to
exciting shreds at the next instant.
To be sure there are ghosts that walk noticeably about in Skinwalkers, among them
Don Davis’ brassy action writing for the Matrix films, and the simmering rhythms of Hans
Zimmer and James Newton Howard’s score for
Batman Begins. But it would be hard to expect
a completely original animal from any newbie composer. And Lockington’s talent is more
than fearsome on its own, creating a dense, intoxicating atmosphere. There’s a real emotional
poignancy to Skinwalkers, one that plays creatures who probably regret their curse, all while
pitted against monsters that revel in the taste
of flesh. Lockington also fills the score out with
nicely atmospheric touches, from brass imitating a werewolf’s cries to a country fiddle for the
movie’s rustic setting. But it’s the exotic percussion that tell us these beasties have been
around long before America was settled, even
if a trumpet gives across the sense of unholy, if
probably unintended patriotism. About the only
thing missing from Skinwalkers are discernable
themes – an increasingly rare creature in film
scoring as a whole.
It’s great to come across new talent, especially in a movie with the title of Skinwalkers.
Here’s to Movie Score Media for letting me
discover Andrew Lockington, who’s certain not
to be cursed scoring in the box office shadows.
Like a werewolf’s cry in the full-moon night,
Lockington’s impressive abilities are destined to
be heard far beyond its furry confines here. In
fact, it positively howls with the many musical
shapes it has yet to take.
Click here for the Skinwalkers limited edition
soundtrack.
OCTOBER 9
• Behind the Gates (Shooting Dogs) (Dario Marianelli) – MovieScore Media
NEW Elizabeth: The Golden Age (Craig Armstrong/A.R. Rahman) - Decca
• In the Valley of Elah (Mark Isham) – Varèse Sarabande
• The Jane Austen Book Club (Aaron Zig-
man) – Varèse Sarabande
• Music from the Pirates of the Caribbean Trilogy (Hans Zimmer/Klaus Badelt et al) – Silva Screen
• Return to House on Haunted Hill (Frederik Wiedmann) – Varèse Sarabande
• Sleuth (Patrick Doyle) – Varèse Sarabande
• Transformers (Steve Jablonsky) – Warner Bros.
OCTOBER 16
• Atom Nine Adventures (Robert Gulya) – MovieScore Media
OCTOBER 23
NEW 30 Days of Night (Brian Reitzell) – Varèse Sarabande
• Battlestar Galactica: Season 3 (Bear Mc
Creary) – La-La Land
• Superman: Doomsday (Robert J. Kral) –
La-La Land
OCTOBER 30
• Haunting Villisca (David James Nielsen) – MovieScore Media
NOVEMBER 6
NEW The Lord of the Rings: The Return of the King – The Complete Recordings
(Howard Shore) - Reprise
• Star Wars: 30th Anniversary Collector’s Edition (John Williams) – Sony
NOVEMBER 13
NEW George and the Dragon (Gast Waltz
ing) (Discovery Collection Vol. 2) – Movi
eScore Media
NOVEMBER 27
NEW Like Minds (Murderous Intent) (Carlo Giacco) – MovieScore Media
Courtesy of iFmagazine.com
7
TECHNOLOGY
Logic 8 Changes the Game
of Sequencing
MUSIC TECHNOLOGY AND YOU
By PETER LAWRENCE ALEXANDER
On April 12 I received an e-news from
MarketWatch telling me in a single line that
Apple (a member of the Sonic Control MusicTech 23) had released the update to a music production program called Logic. There
was no further story or commentary, even
after I clicked on the link taking me to the
MarketWatch website. There was only the
single line announcement. This motivated
my curiosity to see if any financial site had
published the release and if so, had anyone
really grasped or understood the significance
of Logic 8 and its importance the music community at large, and its contribution to helping Apple move more systems?
Over the past few days I went to Barrons, Bloomberg, Google Finance, Reuters,
the Wall Street Journal, and Yahoo Finance.
Of these six sites, only Reuters had the press
release listed, but you had to search for it.
It was under the Apple stock quote at Press
Releases.
Then I went the next step and checked
the various music forums to check the general reaction. Actually, it was rather ho-hum.
Roughly half the posts were complaining
that it wasn’t a very significant update, and
some puffed that they’d rather wait until
Logic 9 before updating. One poster said that
this was really Logic 7.5.
But overall, reaction to Logic 8 among
users who’ve upgraded is extremely positive. Many orders in the U.S. are arriving
within two days of ordering. And one happy
note is that there are few instances of bugs.
Of course, it’s software, so there are a few
bugs here and there, but overall, statistically
speaking, virtually no complaints.
But my thesis question, whether to a composer or a financial analyst assigned to cover
Apple is this, “Do you see the significance of
the update and how the game of sequencing
software is now changed?”
Here’s my take in a nutshell.
8
After spending several days reviewing
materials on the Apple site and downloading the manuals and reading through them,
it’s clear to me that there isn’t a single sequencing program that’s Logic’s equal. What
comes with Logic 8 is so utterly complete,
that after spending time in Rodale’s Synonym Finder looking for worthy adjectives, I
couldn’t find any. Racking my brain for days
to describe Logic 8, all I could come up with
was the word totality.
And for pricing. Get ready for reversed
sticker shock.
The features went up, while the price
went down to $495 list with a $199 upgrade.
And upgrades are available as far back as
Logic 5, Mac or PC.
Uhh, but like wait, Santa, there’s more.
Checking out the specs, you can run Logic 8 on a MacMini with 2GB of RAM costing
$799. Get the monitor at BestBuy or Staples,
add audio card and USB MIDI keyboard,
shake, don’t stir.
That’s right. For $1,300 you can have both
Logic and a MacMini with 2GB of RAM. By
comparison for the same money, with Logic
7, you could have the software for $995, a
hard drive and a Tootsie Roll.
Obviously, with 100 million units in the
field, the iPod is going to be the attention
getter. But in its own way, so can Logic. With
the iPod, I don’t a need a Mac. But with Logic, you gotta have a Mac.
So what Apple has is one major bundling
opportunity to bring in new customers.
Apple’s published a 57-page PDF called
Logic Studio: Product Overview that gives
you the broad summary. Here, you see not
only the updates to Logic 8, but also that
Logic 8 now comes bundled with several impressive bonus programs. (For accuracy I’m
quoting below from the Logic brochure).
Main Stage - turns the Mac into a powerful live rig that lets the customer use their
favorite gear to control software instruments
and effects in a live performance.
SoundTrack Pro 2 - Powerful editing
tools, flexible surround mixing, and an intuitive interface simplify audio post-production
for film and video. Includes dialogue tools
and mixing for picture, including surround.
Studio Instruments - Logic Studio offers the largest set of instrument plug-ins
available in a single box, including 40 incredible-sounding vintage, synth, and sampled instruments.
These studio instruments, called plug-ins
or VSTi’s (virtual studio instruments) often
sell individually for an average price of $395,
or $15,800 if you bought all 40 individually.
Studio Effects - Enhance music productions, live performance, and post-production
projects with 80 professional effect plug-ins.
Effects vary in price, so I’m going to aim
low and average their worth at about $150
each. That’s $12,000 of effects for all 80 if
bought separately.
Studio Sound Library - With the complete content from five Jam Pack collections,
the entire sound library from Final Cut Studio 2, and enhanced content from Logic Pro
7, the Studio Sound Library offers unprecedented value. An intuitive new browser lets
you quickly find the perfect sound.
On the low side, I rate the enclosed libraries as being worth over $1,000 since included
Jam Packs retail at $99.00. One interesting
feature is the inclusion of what’s called Foley
sounds. In case you don’t know the term, simplified they are the sounds that go into movies like punches, running, huffing/puffing,
rolling stones, and so on. So working with
Final Cut Pro, or even audio books, what you
have in Logic 8 is a program that brings film
scoring and production to the masses.
ISSUE 31 • SEPT. 19, 2007
FILM MUSIC weekly
TECHNOLOGY
Then, Logic improved the notation package. So this means that both Avid and MakeMusic have competition from a different
perspective. You can have either Sibelius 5
or Finale 2008 for a street price of $499 or
you can have Logic for $495. Even if the academic prices are a $100 or so lower for these
notation programs, so what? What you get
with Logic for the extra C-note doesn’t begin
to compare.
Now, look, heaven forbid that anyone
call me a flip-flopper. But several years ago
when Apple bought Logic and killed the PC
version, I was madder than cheesecake and
comments from a white paper I wrote were
published in Wired. Ticked or not ticked, I
have to give credit where credit is due.
Logic 8 isn’t just a stunning update, it’s
a stunning achievement. Now to see what
Apple does to promote it as such.
Production Utilities - Logic Studio includes two production utilities from Logic
Pro 7—WaveBurner, for mastering and authoring Red Book audio CDs, and the Apple
Loops Utility. Logic Studio includes two additional production utilities:
• Compressor 3, for encoding Dolby
Digital Professional AC-3 files in 2.0 or 5.1
formats
• Impulse Response Utility, for recording impulse responses for use in Space Designer
Based on current prices from competitors,
(and I’m quoting low), probably another $695
or better in value.
With its $495 price point, Logic is a program that has brought music production to
the masses. When you add up the numbers I
quoted, if you bought all these plug-ins separately, even if you cut my price estimates in
half, Apple provides at minimum $20,000 of
effects and features for $495. If you think
$20K is too high, cut it again. The bottom
line is that you get a lot of amazing stuff for
$495.
•New Features in Logic Pro 8
•Logic Pro 8 Getting Started
•Logic Pro 8 User Manual
•Logic Pro 8 Late-Breaking News
•Logic Pro 8 TDM Guide
•Logic Pro 8 Control Surfaces Support
•Impulse Response Utility User Manual
•Installing Logic Studio (Retail)
•Installing Logic Studio (Upgrade)
•Logic Studio Instruments and Effects
•Logic Studio Working With Apogee
Hardware
•Logic Pro 8 Features
•Logic Pro 8 Tech Specs
Now, Apple hasn’t spelled out these numbers the way I have. But anyone who’s been
around awhile knows that $20K and up is
the cost of a Pro Tools rig. And Logic also
reads TDM effects.
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.
So here’s what we’re looking at.
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FILM MUSIC weekly ISSUE 31 • SEPT. 19, 2007
9
The Chart Doctor
Don’t Get Caught In A Bind
By Ron Hess
Having last week explored phase one of
quality sheet music production, let’s now
tackle the chores still remaining: binding the
score and parts in such a way so as to prevent
noisy page turns and exploding scores.
For materials, you will need a single-edged
razor blade and the palest 3/4” masking tape
you can find. Years ago, we used white Scotch
“paper” tape, but if your parts are for one session only, you can probably save the expense
and use masking tape. In either event, practice the following skill: Holding the roll of
tape with your strong hand (right, if you’re
right-handed,) pull a length of tape out with
your other hand, an inch or two longer than
the two adjacent and touching sheets you are
taping. Apply that end, face down, at the
top of the touching edges of paper and, while
maintaining tension, lower the roll down until
the tape lies along the sheets’ length with an
inch or two extending beyond the lower edges
of the paper. With your empty hand, smooth
the tape down and thus join the pages. Then,
with that same hand, take the razor blade and
press the cutting edge downward against the
exposed, dry side of the tape, parallel with the
bottom edges of the paper. While holding the
blade down, raise the roll of tape with the other hand and let the blade resist until the tape
snaps, resulting in a neat cut precisely at the
bottom edges of the paper. Practice this skill
for speed and accuracy.
Since static electricity from the pulled tape
tends to lift the paper you are trying to tape,
I like to work on a sheet of glass (cheap and
perfectly flat) on which I’ve laid a couple of
strips of removable-strength adhesive. When
I lay the pages down to be taped, they stay
10
put, but are easily liftable for the next place
ment. When moving paper, lay the blade and
tape roll within inches of the cut location each
time. Since you could be facing hundreds of
pages needing to be taped, the real speed will
come from all your materials behaving nicely
with each other.
For parts, you are going to do the “accordion” method. To understand this strategy,
get a deck of cards. Let’s assume you’ve got
a 5-page violin part. Find the ace, deuce, trey,
four, and five. Make them all spades for a
quick thrill. From left to right, place the ace
and deuce, face up, touching at the edges. Using the above method, tape along the long
edges to join them. Roll them forward, maintaining the ace-deuce orientation from left to
right. Take the trey and place it face down
next to the now inverted deuce. Tape the back
sides of the two and three. Roll them again so
that now the ace-deuce-trey are face up, still
going from left to right. Place the four next to
the trey and tape the front sides of them. Roll
again, with the same orientation, and place
the five (face down) next to the inverted four.
Tape the back sides and turn the whole string
face up. See how you can now fan-fold them
away from the taped sides so that you get a
stack with the ace on top and page turns after
each odd-numbered page?
For scores, it’s a little bit different. Take
the same five cards and lay them out, as before, left to right, ace through five. This time
all taping will be on the faces of the cards. The
ace and deuce will be with the edges touching.
For the deuce-trey taping, leave a gap of about
3/16 of an inch, resulting in a bit of the sticky
side of the tape exposed toward the backside.
For trey-four, tape with the edges touching.
For the four-five (you guessed it,) leave that
small gap. Now fold up as before, being scrupulous about lining up the right sides of the
odd pages. What you will notice is a bit of the
sticky side of the tape protruding out the left
sides between each page. All that remains is
to use those sticky protuberances as a sort of
poor-man’s binding element by taking running a bead of tape, wider if necessary, along
the left edge of the page one, and wrapping
around to the back, thus creating a sticky-tosticky connection which will hold the whole
score together, should it happen to fall from
the conductor’s music stand as often happens
during frantic page turns. For a bit of flair,
use colored nylon tape for the outside binding.
With all tape applications, press firmly to
avoid wrinkles and you should achieve page
turns as silent as the dead. Using the above
approaches, and from sheer repetition, you
will gain speed and customer satisfaction. As
this is enormously repetitive physical work,
always keep an eye out for ergonomic solutions (work surface and paper angles, stretching beforehand, etc.) to avoid repetitive stress
injuries. Nobody wants a job that becomes a
pain in the neck!
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 Ron at [email protected]
ISSUE 31 • SEPT. 19, 2007
FILM MUSIC weekly
Neal Acree: Hallowed Ground.
Tree Adams: Keith.
Eric Allaman: Race.
John Altman: The Master Builder.
Craig Armstrong: The Golden Age (co-composer).
Angelo Badalamenti: The Eye • The Edge of Love.
Klaus Badelt: Heaven and Earth • Killshot.
Roque Baños: The Last of the Just.
Nathan Barr: Watching the Detectives •Tortured.
Tyler Bates: The Haunted World of El Superbeasto • Day of the
Dead • Watchmen • Doomsday.
Jeff Beal: Where God Left His Shoes • Salomaybe? • The Deal.
Christophe Beck: Drillbit Taylor • The Seeker: The Dark Is Rising.
Marco Beltrami: In the Electric Mist with Confederate Dead.
Charles Bernstein: Bull Run • Let My People Go.
Jean-Michel Bernard: Be Kind Rewind.
Scott Bomar: Maggie Lynn.
Simon Boswell: Bathory.
Jason Brandt: Something’s Wrong in Kansas.
David Bridie: Gone.
Kenneth Burgomaster: Garfield Gets Real • Hero Wanted.
Mickey Bullock: Sportkill • Orville.
Carter Burwell: No Country for Old Men.
Niall Byrne: How About You.
Brian Cachia: Gabriel.
Peter Calandra: The Sickness.
Jeff Cardoni: Firehouse Dog • Save Me.
Sam Cardon: A House Divided • The Dance • Mummies.
Teddy Castellucci: Are We Done Yet?.
Nick Cave: The Assassination of Jesse James by the
Coward Robert Ford (co-composer).
Jamie Christopherson: Ghost Image.
Nigel Clarke/Michael Csányi-Wills: The Grind.
Charlie Clouser: Resident Evil: Extinction • Saw IV.
Elia Cmiral: The Deaths of Ian • Missionary Man • Tooth
and Nail. Graham Collins: Black Kissinger.
Joseph Conlan: American Pastime.
Ry Cooder: : Charlie Wilson’s War.
Normand Corbeil: Ma fille, mon ange • Boot Camp • Emotional
Arithmetic.
Jane Antonia Cornich: Island of Lost Souls • Solstice.
Burkhard Dallwitz: Romeo and Me • Taking Tiger Mountain • The
Interrogation of Harry Wind • Chainsaw.
Jeff Danna: Closing the Ring • C7.
Mychael Danna: Fracture.
Marcello De Francisci: The Butcher.
Wolfram de Marco: The Tribe.
Jessica de Rooij: Postal • BloodRayne II: Deliverance • Tunnel Rats
• Far Cry..
John Debney: Evan Almighty • Big Stan • Sin City 2 • Sin City 3 •
Iron Man.
Alexandre Desplat: His Dark Materials: The Golden Compass •
Lust, Caution.
Ramin Djawadi: Fly Me to the Moon • The Tourist.
James Michael Dooley: Bachelor Party 2.
Patrick Doyle: Mr. Magorium’s Wonder Emporium.
Ludek Drizhal: Life Goes On • Badland.
Jack Curtis Dubowsky: Rock Haven.
Anne Dudley: The Walker.
Robert Duncan: Shattered.
Clint Eastwood: Grace Is Gone.
Randy Edelman: 27 Dresses • The Mummy: Tomb of the Dragon
Emperor.
Steve Edwards: Finding Rin-Tin-Tin • The Neighbor.
Danny Elfman: The Sixth Element • The Kingdom • Hellboy 2.
Warren Ellis: The Assassination of Jesse James by the Coward
Robert Ford (co-composer).
Paul Englishby: Magicians.
Tobias Enhus: Paragraph 78.
Tom Erba: Chinaman’s Chance.
Ilan Eshkeri: The Virgin Territories • Straightheads • Strength and
Honour.
Evan Evans: The Mercy Man.
Nima Fakhara: Lost Dream.
Sharon Farber: When Nietzsche Wept.
Guy Farley: The Flock • The Christmas Miracle of Jonathan Toomey
• Knife Edge • Dot Com • The Broken • Dylan.
Louis Febre: Tenderness.
George Fenton: Fool’s Gold.
Chad Fischer: The Babysitters.
Robert Folk: Kung Pow: Tongue of Fury • Magdalene • Vivaldi.
John Frizzell: Careless • First Born.
Michael Giacchino: Star Trek XI.
Richard Gibbs: Cleaner.
Vincent Gillioz: Pray for Morning • L’Ecart • Séance • Say It in
Russian.
Scott Glasgow: Hack! • Toxic • The Gene Generation • Bone Dry.
Philip Glass: Cassandra’s Dream • Les animaux amoreux.
Erik Godal: The Gift • Ready Or Not.
Howard Goodall: Mr Bean’s Holiday.
Adam Gorgoni: Starting Out in the Evening.
Jeff Grace: The Last Winter • Triggerman • I Sell the Dead • Liberty
Kid.
Harry Gregson-Williams: Gone, Baby, Gone • Jolene • The
Chronicles of Narnia: Prince Caspian.
Rupert Gregson-Williams: I Know Pronounce You Chuck and Larry
• Bee Movie • You Don’t Mess With the Zohan.
Andrew Gross: Forfeit.
Larry Groupé: Resurrecting the Champ • Love Lies Bleeding.
Andrea Guerra: L’uomo di vetro.
Robert Gulya: Atom Nine Adventures.
Steven Gutheinz: Rothenburg.
Richard Hartley: Diamond Dead.
Richard Harvey: Legend of King Naresuan.
Paul Haslinger: Gardener of Eden.
Paul Heard: Clubbed.
Alex Heffes: My Enemy’s Enemy • State of Play.
Paul Hepker: Rendition (co-composer).
Eric Hester: Lost Mission • Frail.
Tom Hiel: A Plumm Summer.
David Hirschfelder: Shake Hands With the Devil.
Ben Holbrook: Kiss the Bride.
Lee Holdridge: I Have Never Forgotten You - The Life and Legacy of
Simon Wiesenthal.
Andrew Hollander: East Broadway.
James Horner: The Spiderwick Chronicles.• Avatar • In Bloom.
Richard Horowitz: Genghis Khan.
James Newton Howard: Michael Clayton • The Waterhorse • I Am
Legend • The Happening.
Terry Huud: Plaguers.
Alberto Iglesias: Her Majestic Minor • The Kite Runner.
Mark Isham: Pride and Glory • Reservation Road • Lions for Lambs.
Steve Jablonsky: D-War.
James Jandrisch: American Venus.
Adrian Johnston: Sparkle.
Bobby Johnston: American Fork • Stuck.
Tim Jones: Cryptid.
Trevor Jones: Fields of Freedom • The Power of the Dark Crystal.
David Julyan: Outlaw • Waz.
John Kaefer: Room Service (co-composer).
Matthew Kajcienski: Room Service (co-composer).
George Kallis: Highlander: The Source • Antigravity.
Tuomas Kantelinen: Quest for a Heart • The Knight
Templar • Mongol.
Yagmur Kaplan: The Elder Son • The Lodge • Broken
Windows.
Laura Karpman: Man in the Chair • Out at the Wedding.
Rolfe Kent: Fred Claus • Spring Break in Bosnia • Sex
and Death 101.
Wojciech Kilar: We Own the Night.
Mark Kilian: Rendition (co-composer) • Before the Rains.
David Kitay: Because I Said So • Shanghai Kiss.
Harald Kloser: 10,000 BC.
Abel Korzeniowski: Terra.
Penka Kouneva: The Third Nail • Richard III.
Ivan Koutikov: Wanted Undead Or Alive • Living Hell.
Aryavarta Kumar: The Rapture • Greater Threat.
Christopher Lennertz: The Comebacks • Alvin and the Chipmunks •
The Perfect Christmas • Hunting and Fishing.
Sondre Lerche: Dan in Real Life.
Michael A. Levine: Adrift in Manhattan.
Christopher Libertino: Off the Grid – Life on the Mesa • The Forgotten Kingdom.
Andrew Lockington: Step • How She Move • Journey 3-D.
Joseph LoDuca: Bar Starz • My Name Is Bruce • Ocean of Pearls •
Boogeyman 2.
Henning Lohner: In the Name of the King: A Dungeon Siege Tale •
Timber Falls.
Steve London: Decoys 2: Alien Seduction • Kaw.
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 • August Rush • Camille • Without a
Badge • Like Dandelion Dust.
Harry Manfredini: Dead and Gone • That’s Amore.
David Mansfield: Carnaval de Sodoma • Then She Found Me • The
Guitar.
Dario Marianelli: We Are Together • Goodbye Bafana • Atonement
• Shrooms.
Anthony Marinelli: Grizzly Park.
Cliff Martinez: First Snow • Vice.
John McCarthy: The Stone Angel.
Mark McKenzie: The Redemption of Sarah Cain.
Joel McNeely: The Tinkerbell Movie.
Nathaniel Mechaly: Sans moi.
Alan Menken: Enchanted • The Frog Princess.
Matt Messina: Juno • The Least of These.
Guy Michelmore: Doctor Strange.
Bryan E. Miller: Fissure.
Randy Miller: Last Time Forever • Shanghai Red • Second Chance
Season.
Robert Miller: Teeth • The Key Man • Trumbo.
Sheldon Mirowitz: Renewal • Operation Filmmaker.
Charlie Mole: Fade to Black • I Really Hate My Job • St. Trinian’s.
Deborah Mollison: Infinite Justice.
Paul Leonard-Morgan: Popcorn.
Andrea Morricone: Raul – Diritto di uccidere • Veronica Decides
to Die.
Trevor Morris: Matching Blue.
Mark Mothersbaugh: Mama’s Boy • Quid Pro Quo • Fanboys.
Sean Murray: The Lost • Clean Break.
Peter Nashel: Wedding Daze.
Javier Navarrete: His Majesty Minor.
Blake Neely: Elvis and Anabelle.
Roger Neill: Take • Scar.
Joey Newman: Safe Harbour.
Randy Newman: Leatherheads • The Frog Princess.
Thomas Newman: Nothing Is Private.
Marinho Nobre: Left for Dead.
Julian Nott: Heavy Petting.
Paul Oakenfold: Victims.
Dean Ogden: Oranges • Knuckle Draggers • A Perfect Season.
John Ottman: Valkyrie.
Atli Örvarsson: Vantage Point.
John Paesano: Shamrock Boy.
Heitor Pereira: Illegal Tender • Blind Dating • Suburban Girl • Run-
THE
SCORE
BOARD
ning the Sahara.
Mark Petrie: The Road to Empire • Lake Dead • Mr Blue Sky • Valley
of Angels.
Barrington Pheloung: And When Did You Last See Your Father?.
Leigh Phillips: War Made Easy • Still Life.
Martin Phipps: Growing Your Own.
Nicholas Pike: The Shooter • Parasomnia.
Antonio Pinto: Love in the Time of Cholera.
Nicola Piovani: Odette Toulemonde.
Douglas Pipes: Trick r’ Treat.
Steve Porcaro: The Wizard of Gore • Cougar Club.
Rachel Portman: The Feast of Love.
John Powell: Horton Hears a Who • P.S. I Love You.
Reg Powell: The Ten Commandments.
Michael Price: Sugarhouse Lane • Agent Crush.
Trevor Rabin: National Treasure 2: The Book of Secrets • Get Smart.
Didier Lean Rachou: How to Rob a Bank • An American in China.
A.R. Rahman: The Golden Age (co-composer).
Brian Ralston: Graduation • 9/Tenths.
Jasper Randall: Me & You, Us, Forever • The Secrets of Jonathan
Sperry.
Brian Reitzell: 30 Days of Night.
Joe Renzetti: 39 • Universal Signs.
Graham Reynolds: I’ll Come Running.
Carmen Rizzo: The Power of the Game.
Matt Robertson: The Forest.
Philippe Rombi: Angel.
Jeff Rona: Whisper.
Brett Rosenberg: The Skeptic.
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
Brian Satterwhite: Cowboy Smoke • Maidenhead.
Mark Sayfritz: sake.
Brad Sayles: The Bracelet of Bordeaux.
David Schommer: War, Inc.
Marc Shaiman: Slammer • The Bucket List.
Theodore Shapiro: Mr Woodcock • The Mysteries of Pittsburgh •
The Girl in the Park • Semi-Pro • Tropic Thunder.
George Shaw: Victim • Sailfish.
Edward Shearmur: 88 Minutes • Dedication • The Other Boleyn
Girl.
Ryan Shore: The Girl Next Door • Numb • Jack Brooks – Monster
Slayer.
Carlo Siliotto: La MIsma Luna • The Ramen Girl.
Alan Silvestri: Beowulf.
Samuel Sim: Awake.
Marcus Sjöwall: Dreamkiller.
Cezary Skubiszewski: Death Defying Acts • Disgrace.
BC Smith: Greetings from the Shore.
Damion Smith: Stompin.
Jason Solowsky: 110%: When Blood, Sweat and Tears Are Not
Enough • The Deepening • L.A Takedown • Unemployed • North
by El Norte.
Mark Hinton Stewart: Man from Earth.
Marc Streitenfeld: American Gangster.
William T. Stromberg: TV Virus • Army of the Dead.
Jina Sumedi: Sextet.
Mark Suozzo: The Nanny Diaries.
Johan Söderqvist: Walk the Talk.
Joby Talbot: Son of Rambow.
Frederic Talgorn: Asterix at the Olympic Games • Largo Winch •
Dragon Hunters.
Francois Tétaz: Rogue.
Mark Thomas: Moondance Alexander • Tales of the Riverbank.
tomandandy: The Koi Keeper.
Pinar Toprak: Blue World • Dark Castle • Serbian Scars.
Jeff Toyne: Shadow in the Trees • Within • Fast Company.
Thanh Tran: Cult.
Michael Tremante: If I Didn’t Care.
Gregory Tripi & Kyle Batter: Dark Storm • Termination Point.
Ernest Troost: Crashing.
Brian Tyler: Bangkok Dangerous • War • Finishing the Game • Alien
vs. Predator 2 • John Rambo • The Heaven Project.
Shigeru Umebayashi: A Simple Love Story.
Johan van der Voet: Clocking Paper.
John Van Tongeren: War Games 2 - The Dead Code
Waddy Wachtel: Strange Wilderness.
Benjamin Wallfisch: The Escapist.
Michael Wandmacher: The Killing Floor • Man of Two Havanas •
Train • Get Some.
Nathan Wang: Daddy’s Little Girl • The Final Season.
Stephen Warbeck: Flawless • Miguel and William.
Matthias Weber: Silent Rhythm • Weekend Interrupted.
Cody Westheimer: Benny Bliss and the Disciples of Greatness •
Hysteria.
Alan Williams: Angst • Snow Princess • He Love Her, She Loves
Him Not.
David Williams: The Conjuring.
John Williams: Indiana Jones IV • Lincoln.
Patrick Williams: Mikey and Dolores.
Tim Williams: Afterthought • A Dog’s Breakfast.
Debbie Wiseman: Flood • Amusement.
Alex Wurman: The Baker • Bernard and Doris • Baggage • Quebec.
Gabriel Yared: Manolete • 1408.
Christopher Young: Sleepwalking.
Geoff Zanelli: Delgo • Hitman • Outlander.
Marcelo Zarvos: The Air I Breathe • You Kill Me.
Aaron Zigman: The Martian Child • Good Luck Chuck • Jane Austen
Book Club.
Hans Zimmer: Frost/Nixon.
Film Music Weekly 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. Edited by Mikael Carlsson. Updates should be sent to [email protected].