I’ve been a fan of film and TV music for as long as I can remember, beginning with classic movie scores (predominantly by John Williams) from Star Wars, ET, Close Encounters and Jaws to later work by Howard Shore, Hans Zimmer, Thomas Newman, James Newton Howard and Lorne Balfe. But it was upon hearing the 2010 orchestral hybrid score of Tron: Legacy by Daft Punk and Joseph Trapanese that the creative penny dropped. It brought my two worlds together – the one I was in and the one I wanted to be in.

My own music journey began back in the 1990’s, working from a primitive home studio using the most basic of gear, making electronic music for dance floors. This continued up until 2020 when the pandemic hit, so I decided to try and use this as a window of opportunity to make a career pivot into the world of Film & TV composition.

Fast forward to 2023 and I’ve managed acceptance onto two BAFTA initiatives (Crew and Connect), written 4 production music albums resulting in over 250 television sync placements, scored two shorts and a documentary, picked up a couple of award nominations and a win, but maybe more importantly been able to work with and meet some absolutely lovely people. This includes a recent collaboration on new music with legendary Ivor Novello Winning composer, Simon May so I am forever thankful and loving it. However, I do know through previous experience that it ain’t all sunshine, rainbows and lollipops and just how brutal working as a freelance creative can be. It’s like shifting quicksand; it’s never still, and you’re never safe!

With this in mind, I thought I might share some of my own insights, tips and tricks which I feel have assisted me while trying to build a sustainable career as a composer of music for moving image.

My top 10 tips

PRESENT YOURSELF

With all the free resources out there such as WordPress and social media sites like Twitter, Instagram and Facebook, there is simply no excuse not to have your online house in order. You’re not only presenting your output, you’re presenting yourself so take time and think about how you are perceived if someone finds you online. If you’ve managed to get any previous work with any recognisable brands or companies, even better, so don’t be afraid to name drop!

WRITE, WRITE, THEN WRITE SOME MORE

When things are quiet, I personally see it as a perfect opportunity to try writing in a new style, learn a new skill or improve my production skills which in turn expands on the services I can offer. There’s a ton of free stuff online, including helpful articles and interviews from Film Scoring Tips (filmscoringtips.com), Spitfire Audio Academy (https://www.spitfireaudio.com/pages/academy) and more generally, from doing a simple YouTube search of the thing you’re after. There are a myriad of free resources out there to aid and expand your learning so there’s no excuse!

GROW A THICK SKIN

If you want to work in the creative industries it is inevitable that you will have setbacks, heartbreaks, kicks in the teeth, rejections and all manner of other things that make you ask “what on earth am I doing!?” There are of course many lovely things this industry can bring but it’s always good to try and figure out a way of how you might deal with such setbacks when they arise. Personally, I have an attitude that I want to ultimately get it right so will work as hard as I can to achieve this and in some cases, maybe prove a few people wrong in the process! In my early days, family and friends would ask me “when are you going to get a real job” until one day I stood in front of 5000 people at Brixton Academy and played music I’d essentially made in a bedroom and was never asked the question again.

BELIEVE IN YOURSELF

Not everyone is going to dig what you do but I’ve always felt that if I like what I’ve done, that’s ultimately all that matters so stick to what you want to do and believe in yourself because quite often, that will attract others to believe in you. Write from the heart and don’t be afraid to try new things because maybe that’s what will make someone’s head turn or ears prick up. I certainly do not find it easy at times and quite often, whether something works or not is more a question of timing. So, if I feel I’m hitting my head against a brick wall the best for me to do is complete what I’m working on and get away from the studio for a bit, usually on my bike! I’ve lost count of the musical conundrums I’ve been able to solve while riding my bike!

BUILD RELATIONSHIPS

Build relationships, make friends and have fun because this is the stuff people remember. It can be stressful working on projects when they are both time and financially critical so if you get along with the people you are working with, you can take comfort in the knowledge that you are supported as part of a team during work time, and maybe able to enjoy a beer afterward.

COMMUNICATE WELL

My advice to anyone getting into any form of art that involves getting paid is, realise that talent is only a very small part of the puzzle. People book people so good communication skills are a must. Nobody wants to work with someone who is arrogant and who thinks they know it all, no matter how talented they are and I think this really just comes down to basic manners and respect for others. Treat people how you want to be treated yourself is a mantra I’ve always felt is a good one to abide by.

DON’T FOLLOW TRENDS

The thing with trends, once you follow and model your work on one, it has already moved on, especially in today’s world of lightning fast online streaming so as above, write from the heart. I have a saying, ‘do what you love and love what you do’ because the real pay-off is in the doing so if you can find the joy in creating something unique, you’ll always reach a decent level of satisfaction.

COLD CALLING

We’re all eager for cool projects to work on and even cooler people to work with, and ultimately get paid doing so, but is cold calling directors and producers with email drops saying “hi i’m a composer” a good use of your time? Sure, in rare cases you may happen to stumble across the odd director or producer who may be on the lookout for a composer but I feel there are better, more productive ways to try and connect with people who may be hiring. There are a number of film and TV crew Facebook groups that I follow such as Filmmakers Forum, Film & TV Production Crew UK, and Global Composer Network who post call outs for composers from time to time, and although call outs of this nature get a lot of attention, at least you know whoever is posting the call out is actually looking for a composer.

THROW NOTHING AWAY

Remember, being a composer is as much about reinvention as it is invention so if I’m working on something new that I haven’t tried before and I think the idea has legs, I always try to make sure I bring it to some kind of conclusion then store it in a folder on my desktop. You never know if something that hasn’t quite worked for a one project, might just become a catalyst for one that does so keep all your experimental musical musings.

ASK THE EXPERTS

If you’re just starting out and looking to get into a specific field, ask questions of the people who are already doing the thing that you ultimately want to do. In the beginning I sent a few established composers messages via Facebook politely introducing myself and found that they were more than happy to share their experiences of how they’d managed to get where they are today. What I also found was that everyone’s journey is different but the information and advice I received became a valuable part of my research while planning my career pivot.

My conclusions

I’ve heard both anecdotally and from reading online that it takes on average five to ten years to become an established film & TV composer (see LA Times article ‘How to become a Film & TV composer’ –https://www.latimes.com/entertainment-arts/business/story/2022-11-08/explaining-hollywood-how-to-become-a-composer-for-film-and-tv) so understand that if this is a career path that interests you, you need to be prepared for the long haul.

As well as the time it takes to establish yourself, I have also noticed a recent rise in the level of fear and anxiety from existing creatives working across the film and TV production spectrum, both in person and online which surprised me somewhat, and it’s these experiences that have gone on to form the backbone for this piece. All these fears are of course well founded but whatever the reason, be it the threat of AI taking people’s jobs, writers strikes or just a general lack of opportunity the creative business as I know it can be utterly unforgiving especially if you want to get paid for it, and that’s why I feel it’s a good idea to try find useful ways to try and mentally mitigate the inevitable downturns and disappointments. That said, for all its many pitfalls, there are pleasures working in this industry beyond your wildest dreams so if this is a world you want to be part of, set a destination, strap yourself in and try and enjoy the ride!

The post COMPOSER SURVIVAL GUIDE appeared first on film scoring tips.

Film music composition techniques

Film music is a powerful tool that enhances the viewer’s experience by adding depth and emotion to the storytelling process. Whether it’s a soaring orchestral theme or a subtle piano piece, the music score can greatly impact how we perceive and connect with a film. To better understand why you love a film’s music score, it’s essential to delve into the various composition techniques used by film composers.

1. Leitmotif: One of the most common techniques used in film scoring is the leitmotif. The leitmotif is a recurring musical theme or melody that represents a specific character, place, or idea. By associating a melody with a particular element in the film, the composer creates a musical identity, allowing the audience to develop an emotional connection with the motif every time it reappears.

2. Tempo and rhythm: The tempo and rhythm of a film score play a crucial role in setting the mood and pace of a scene. Through the use of varying tempos and rhythmic patterns, composers can create tension, excitement, or tranquility. For instance, a fast-paced action sequence may be accompanied by rapid, intense percussion, while a heartwarming romantic scene might feature a slow, melodic waltz.

3. Orchestration: The choice of instruments and the way they are arranged, known as orchestration, can significantly impact the emotional impact of a film’s music score. Different instruments evoke different feelings and associations. For example, a solo violin can convey vulnerability or intimacy, while a full orchestra can create an epic, sweeping sound.

4. Musical motifs: Just like leitmotifs, musical motifs are shorter musical ideas or phrases that are associated with specific elements in a film. These motifs are typically used to represent emotions, plot points, or recurring symbols. By using musical motifs strategically, composers can create cohesion and coherence throughout the film, strengthening the overall impact of the score.

Importance of music in movies

Music has always played an integral role in movies, with the power to elevate the cinematic experience to new heights. Here are some reasons why music is so important in the world of filmmaking:

1. Setting the mood: Music has an incredible ability to set the mood and tone of a scene. Whether it’s a suspenseful thriller or a heartwarming romance, the right music can instantly transport us to the desired emotional state. By manipulating the musical elements such as harmony, dynamics, and instrumentation, composers can tap into our emotions and immerse us in the story.

2. Enhancing storytelling: Music has the power to enhance storytelling by reinforcing and highlighting key moments in the film. It can help to emphasize dramatic moments, heighten tension, or underscore a character’s emotional journey. The combination of visuals and music allows filmmakers to convey complex messages and evoke specific reactions from the audience.

3. Symbolism and foreshadowing: Music can be used to symbolize certain themes or foreshadow events within the film. By associating a specific musical motif with a character or an idea, composers can subtly guide the audience’s understanding of the story. These musical cues add depth and layers to the narrative, making it more engaging and thought-provoking.

4. Creating memorable experiences: We often associate certain movies with their iconic musical themes or scores. These melodies become inseparable from our memory of the film and can instantly trigger a flood of emotions and memories. The right music can elevate a movie from being merely entertaining to becoming a deeply resonant and unforgettable experience.

Role of music in storytelling

The role of music in storytelling cannot be overstated. It serves as a powerful tool that enhances the visual narrative in numerous ways. Here are some key roles that music plays in the storytelling process:

1. Creating atmosphere: Music helps to establish the atmosphere and environment of a scene, immersing the audience in the world of the film. Whether it’s a haunting melody in a horror film or a playful tune in a comedy, the music provides context and sets the overall mood, enabling the viewers to connect with the story on a deeper level.

2. Supporting character development: The use of specific musical themes or motifs can provide valuable insights into a character’s emotional state, personality, or backstory. By associating a character with a particular musical motif, composers can communicate complex information about the character without relying solely on dialogue or visuals.

3. Aiding in pacing and transitions: Music helps to pace a film by guiding the viewer through various emotional beats and transitions. It can signal a change in mood or tone, or seamlessly bridge different scenes and sequences. The rhythmic and melodic variations in the score help to navigate the narrative flow, ensuring a smooth and engaging viewing experience.

4. Highlighting key moments: Certain pivotal moments in a film require special emphasis, and this is where music shines. From climactic action sequences to poignant character revelations, the music score enhances the impact of these moments, eliciting powerful emotional responses from the audience. It adds a layer of intensity and depth, making those scenes unforgettable.

If you’d like to learn more about the functions of film music check this free course out!

Film music score analysis

Analyzing a film music score can deepen your appreciation for the intricate details woven into the composition. Here are some aspects to consider when analyzing a film’s music score:

1. Themes and motifs: Pay attention to recurring themes or motifs throughout the score. Identify how they are used to represent characters, ideas, or emotions. Look for variations and developments within these themes and examine how they evolve alongside the narrative.

2. Instrumentation and orchestration: Take note of the instruments used and how they are arranged within the score. Consider the reason behind the choice of certain instruments and whether they align with the film’s themes or setting. Analyze how the composer combines different instruments to create unique textures and tones.

3. Harmony and melody: Explore the harmonic progressions and melodies present in the score. Observe how they interact with the visuals and enhance the emotional impact of the scenes. Analyze the use of dissonance and consonance to evoke tension or resolution, and examine how the melodies reflect the mood and character development within the film.

4. Rhythm and tempo: Consider the rhythmic patterns and tempo changes in the score. Notice how they contribute to the pacing and overall energy of the film. Determine whether the composer uses rhythm to match the on-screen action or create interesting contrasts.

5. Emotional dynamics: Explore how the music score enhances the emotional dynamics of the film. Analyze the moments of climax, introspection, joy, or despair, and observe how the music intensifies or subdues those emotions. Look for moments of silence or absence of music and their impact on the storytelling.

By closely examining these elements, you can gain a deeper understanding of why a particular film’s music score resonates with you. It allows you to appreciate the thought, skill, and creativity that goes into creating the perfect musical accompaniment for a cinematic experience.

The post Decoding why you love that film’s score appeared first on film scoring tips.

In the ever-evolving world of film composition, technological advancements and established traditions offer an abundance of tools and methodologies that promise to ease the creative process. Yet, even as composers embrace a wide range of digital audio workstations, virtual instruments, and AI-driven music generators, they often also adopt certain habits and workflows. While these aids may appear to make life simpler, it’s crucial to consider their potential downsides. Over-reliance on certain tools or ingrained habits can be an artistic stumbling block, hindering both creativity and career progress. This article aims to shed light on these composers best enemies, exploring how something seemingly advantageous can turn into an enemy if not carefully managed.

Quantization

The Allure and Downfall of Over-Quantization

Quantization, an integral part of digital music composition, has been nothing short of a technological marvel. By automatically aligning notes to a predefined temporal grid, it cleans up any “human error” in timing, offering a neat and polished output. But this polish comes at a price. Over-quantizing can remove the very soul of a composition. The natural fluctuations in tempo that define live performances—those slight hesitations or anticipations that lend music its emotive power—are eradicated.

Beyond Emotion: The Problem with Precision

Such sterilization does more than simply strip music of its emotional resonance. It fundamentally alters how listeners engage with and respond to a composition. In a world overwhelmed by digitalization, people yearn for authenticity; the organic flow of sound that speaks to the human condition. Over-quantization risks silencing this unspoken but universally understood language.

The Fallacy of “Smart” Quantization

While basic quantization is already complex, “intelligent” or “smart” quantization ups the ante. These advanced algorithms attempt to intuit a composer’s rhythmic intent, automatically making adjustments. The trouble here isn’t just that they can make mistakes—although they do. The larger issue is that these tools can subtly erode a composer’s unique style and voice. In an age where originality is at a premium, this loss is costly, both artistically and professionally.

Doubt and Instinct: The Psychological Dimensions

These supposedly smart tools may misinterpret the composer’s rhythmic instincts, creating a subtle dissonance that’s hard to identify but easy to feel. The risk here is twofold. First, it can instill a sense of doubt about one’s own musical intuition. Second, it can lead to a final output that, while technically clean, lacks the elusive “spark” that distinguishes compelling compositions from merely competent ones.

Constant Tempo

Simplification and Sterilization

Adhering to a constant tempo, often set by metronomes or in-DAW tempo tracks, simplifies the composition and production process. The constant BPM (Beats Per Minute) is easy to follow, straightforward to mix, and convenient for rapid iterations. However, this efficiency sacrifices the musical ebbs and flows that imbue compositions with depth and character.

Industry Pressures and Artistic Trade-offs

Constant tempo is a symptom of an industry increasingly driven by deadlines and efficiency. A high-paced environment leaves little room for nuanced tempo variations and encourages “safe” compositions. Unfortunately, these often lack the dynamism and emotional engagement that set great film scores apart from merely functional ones.

Navigating the Risky Terrain of Tempo Variability

On the flip side, composing with a variable tempo—filled with accelerandos, ritardandos, and other such nuances—can make a piece feel alive, more in sync with the on-screen action or drama. However, this flexibility can be a double-edged sword. While it brings life to a composition, it also presents significant challenges for orchestras and ensembles during live performances. This complexity demands skillful execution, making it a daunting but worthwhile challenge for composers.

Writing for Virtual Instruments

Shaped by Software: The Risk of Passive Composition

Virtual Studio Technology (VST) instruments have revolutionized film composition, offering unprecedented access to an enormous palette of sounds. But there’s a catch. These digital marvels come with their limitations—fixed tonal ranges, set dynamic scopes, and predefined articulations—that can subtly dictate the compositional process.

Active Composition: A Cognitive Imperative

The antidote to this passive influence is an active approach to composition, grounded in a deep understanding of musical theory and orchestration. A nuanced knowledge of these aspects can help a composer liberate themselves from technological limitations, expanding their creative horizons exponentially.

What clients need

The Needs-Wants Dichotomy

Navigating client relationships involves a subtle balance between understanding what a client wants and what the project actually needs. It’s easy to fall into the trap of prioritizing one over the other, often skewing towards the latter due to the composer’s own artistic convictions. This can result in a work that, while musically excellent, fails to meet the client’s vision, leading to dissatisfaction, project stalls, or even termination of contracts.

A Fluid Communication Channel: The Secret Ingredient

Successful client interactions rely on a two-way communication channel. This enables a flexible adaptation to feedback, encourages mutual respect, and fosters a collaborative atmosphere. Stubbornness and lack of adaptability are not just project risks but career risks. Thus, keeping an open dialogue is not a recommendation but a requirement for professional survival.

Hyper-Focus on Details

The Early Stage Pitfall: Detail-Orientation

There’s a time and place for focusing on minute details. While this meticulousness can be an asset during the later stages of a project, it can be a liability during the initial phases. The early stages demand a broader focus, one geared towards aligning the composer’s vision with that of the client. Over-emphasizing details too early can prevent this alignment, bottlenecking the project and leading to missed deadlines or even project cancellation.

Prioritization Through the Lens of Project Stages

A composer’s focus should shift depending on the stage of the project. The early stages are best served by broader strokes—defining themes, establishing moods, and setting musical direction. Once these big-picture elements are in place, attention can safely turn to the finer aspects—orchestration nuances, harmonic complexities, and detailed instrumentation, among others.

In Conclusion: Navigating the Minefield

Composing is a thrilling journey, full of choices. Some tools and habits seem great. They promise to make life easier. But watch out! They can trap you. They can make your music less human, less unique.

We’ve covered several pitfalls today. Over-reliance on quantization can suck the life out of your work. Constant tempo can make your pieces feel robotic. Trusting your VSTs too much can limit your creativity. Focusing too much on what a project needs over what the client wants can lead to frustration. And obsessing over details can waste valuable time.

But it’s not all doom and gloom. Knowing the pitfalls can help you avoid them. Stay flexible. Keep learning. And always, always listen—to your clients, to your audience, and most importantly, to your own creative voice.

Remember, the best composers aren’t just skilled; they’re smart. They know when to use tools, and when to trust their instincts. By avoiding these common traps, you’re not just making better music; you’re becoming a better composer.

The post Composers Best Enemies appeared first on film scoring tips.

In this series we’ll go on a journey to explore the wonderful world of modular synthesis.

Basics of modular synthesis: Envelopes and LFOs

Today we continue our journey in modular synthesis exploring the power of envelopes and LFOs.
We’ll start with building a basic synth voice and soon move towards more adventurous territories… modulation is fun!

Don’t miss the next part of this series!

The post Modular Synthesis for the Film Composer – Part 6 appeared first on film scoring tips.

In this series we’ll go on a journey to explore the wonderful world of modular synthesis.

Basics of modular synthesis: Triggers, Gates, Clock dividers and Clock Multipliers

Basics of modular synthesis: Triggers, Gates, Clock dividers and Clock Multipliers

Let’s start getting into the building blocks of modular synthesis.

In this part we’ll talk about triggers and gates. What are the differences between these two types of CV signals, often used for similar purposes but intrinsically different?

We’ll also elaborate on the topic discussing syncing techniques, clock dividers and multipliers as well as using gates as a modulation source.

Don’t miss the next part of this series!

The post Modular Synthesis for the Film Composer – Part 5 appeared first on film scoring tips.

Over the past couple of months I’ve been taking a thrilling ride, I have been developing a project for an innovative musical startup accelerator program. Going through the various stages of this experience is teaching me loads about different topics, but above all about how to hack my behaviours to maximise quality and impact of my projects. I believe this learnings could be very helpful to everybody, but in particular those who are starting a musical project, such as composing a new EP, album or film score.

The Legendary Decks

This is the name of the project I’ve been developing. In few words, this is an anthology of new music composed by me, that I am releasing on colourful collectible smart cards. My main focus with this is to bring to my audience the joy of holding music they love in their hands. Feel free to check the official page here. When I proposed this idea to the accelerator program I’m part of they were ecstatic. In particular they loved one feature: scalability.

Tip 1: Make it scalable

When a project can easily be increased in scale it will make your life easier if its first steps are successful. But that is not all, investors/partners will love it! I learned that when I saw my project being received with much enthusiasm by the accelerator people and by a record label I’m partnering with (more on that later). The way I made The Legendary Decks scalable is by developing a plan to grow the collection of cards over time and to implement gameplay mechanics down the road that will allow anyone who bought the cards to experience something new and cool. Thinking this idea through since the very first steps allowed me to include elements, such as the augmented reality markers, leaving open the doors to growth.

This learning can easily be translated to creating the blueprint of a film score. When you propose a plan that involve scalability depending on budget you are basically saying you can do a very good job with little resources but also that you can put bigger resources to great use. Showing you have thought how to grow it in scale means peace of mind for the client that the project is in good hands, whether or not additional funds will be allocated to post-production/music. One example of this is proposing a score for string quartet that could be transformed in a string orchestra without needs of massive rewrites, or to get actually payable parts and scores ready when opting for all simulated orchestral mock-ups. Speaking of mock-ups…

Tip 2: Make a mock-up for yourself early

When I started designing the cards I was playing with many form-factors and materials. But that was happening purely digitally. Only once I made a physical prop did I realise that I loved one option much more than all the others: I went for an ID card shape and materials and that did convey the feeling of ‘premiumness’ I was looking for.

In case of a film score this could mean testing a concept idea musically before even proposing it to the director. Many times during a spotting session I’ve said things like “after reading the script I’ve immediately thought of this scene to be accompanied by a solo piano ostinato piece”. Sure enough my early intuitions proved effective most times, but had actually sat at the computer right away and created a rough mock-up for my only use I would have probably found out when that idea was not the best one. I know time is often an issue, but here’s another thing I’ve learned…

Tip 3: Infuse your project with a sense of urgency

Due to the nature of the accelerator program I had to develop the project to a point where it is ready for sale very quickly, only a few weeks really. This seemed a close to impossible task, but yielded some amazing “side-effects”. First of all it pushed me towards completion and didn’t give me enough time to take on other projects to juggle together (guilty of doing that soooo often…). But above all, this sense of urgency has been a key selling point. When I presented this project to the record label Enjoy The Ride Records they loved the idea right of the bat, however it is not usual for them to setup a new product sale in the matter of days. Having infused the project with a sense of urgency (and having the accelerator deadline in sight) gave me the confidence to ask for an unusual scenario, which added quite a bit to their excitement. Furthermore we wanted this first release to feel unique and limited and decided to keep sales open for a short period of time: 72hrs. Passing the urgency to partners, clients, customers, fans might also boost their interest and enthusiasm.

In the world of music for film, setting your pace to fast gears can have many positive effects. You will deliver cues steadily and early on, giving a sense of professionalism and enough time to ask for revisions. You will leave a reserve of time for the end, should something go wrong and need more attention than anticipated. Lastly you will help the director enter early in your musical world or to achieve early a common vision. In fact you should not be afraid to ask for the director’s opinion of your work-in-progress as soon as possible… yup another smooth transition to the next tip!

Tip 4: When in doubt ask your client

Early into development I had a few leap-of-faith assumptions that I didn’t feel so sure about. Above all: the price. How much should I charge for this thing? I started doing research of similar items, then I asked an opinion to family and friends, then I budgeted costs to see what price point would make it profitable… there was one thing I was avoiding time and time again: asking members of my audience, fans and buyers of my previous albums. My subconscious fears of the project not being received well by my “client” was blocking me from doing the only sound thing. Luckily the nice peeps at accelerator program shook me out of it and I reached out to ex-buyers and fans to ask all sort of questions on the project. This helped me define a price for it and so much more, early reactions gave me ideas on how to develop the project in the future and sight on what I was doing wrong.

I would lie if I said there haven’t been scoring experiences where I was afraid to send a director early cues. In these situations I took the time to refine cues until they sounded perfect to me. Sometimes they liked them, sometimes not, resulting in loads of time wasted (I talk about this extensively on my series The Lean Composer). Do you have a great new idea on how to score a scene, but you are not too sure the director will like it? Just ask them! Being afraid will not do you good, and remember that when you love something it is probably a good sign. Oh my, another perfect transition, I’m on fire….

Tip 5: If you love it other people will love it

Developing this project has felt so great since the beginning. I believe the reason being this is something I made with love. This is something I created thinking of what I would have bought if I were in the customer’s position. This project is very compatible with all my interests and passions. And there is a very good chance it is compatible with many other individuals with whom I share interests and passions!

By contrast I thought of many working experiences where I felt like hiding some aspects of my personality or interests and now realise I have been wrong all along. When you truly love something it your enthusiasm will be received as genuine and will infect others with excitement.

Hopefully this experience of mine will help you navigate your next projects, do let me know if this happens as that would make me happy!

The post 5 tips I’ve learned being in an accelerator program appeared first on film scoring tips.

In this series we’ll go on a journey to explore the wonderful world of modular synthesis.

Eurorack cases and power supply: everything you need to know

As boring as it might sound, unless you get started with a semi modular system, your actual first step in Eurorack will be thinking about a case.

Portable, expandable, compact, huge… everything has its place and you’ll need to grasp a few basic concepts before making your choice.

In this video we’ll explain everything you need to know to get started, including:

• Understanding the power consumption of your system,
• Choosing the case that is right for you,
• Installing modules,
• Looking at the different types of ribbon cables

Don’t miss the next part of this series!

The post Modular Synthesis for the Film Composer – Part 4 appeared first on film scoring tips.

In this series we’ll go on a journey to explore the wonderful world of modular synthesis.

What is control voltage (CV)? Let’s start talking about modulation… and grab this free instrument!

Last time, we explored the possibilities of using just one module as an external FX unit… but the real fun comes when we start adding modulation.

In this episode we’ll introduce the concept of control voltage (CV), the language that modules use to communicate with each other, and we’ll start adding modulation to our granular vocals.    

I will then guide you step by step in the process of making your very own virtual instrument in Kontakt (with crossfades!) without a single line of code!

We also made a completely free instrument with these samples! It’s called Aria Libera, and you can get it here.

Don’t miss the next part of this series!

The post Modular Synthesis for the Film Composer – Part 3 appeared first on film scoring tips.

In this series we’ll go on a journey to explore the wonderful world of modular synthesis.

A good entry point..

When I first started with Eurorack I wasted time and money on a system that I didn’t know how to integrate in my workflow. Retrospectively, the best entry point for me as a media composer, would have been setting up my modular as an external FX unit to process my music and my samples!

I firmly believe that as media composers we need to be unique, and making your own samples is a great first step to achieve this goal.

In this episode, we explore how to use Mutable Instruments Clouds (technically in the video I use Monsoon, a clone of the popular module) to do just that: we’ll process a set of vocal samples through Clouds’ granular and spectral processor.

Don’t miss the next part of this series!

The post Modular Synthesis for the Film Composer – Part 2 appeared first on film scoring tips.

In this series we’ll go on a journey to explore the wonderful world of modular synthesis.

Let’s get started busting some myths commonly associated with modular synthesizers:

Myth 1: You can’t get into modular without spending lots of money.

There’s no doubt, modular synths are an expensive hobby to get into, however.. you will be surprised how many manufacturers are putting out cheaper series with modules under $100. And with eurorack becoming more popular every day and with larger companies getting into the market, getting started is cheaper than it has ever been.

Myth 2: You can’t get started with just one module.

While the real fun certainly starts putting modules together, there are quite a few fully fledged,self-contained semi modular synths as well as other options, some of them particularly good for film composers.

Myth 3: Modular synthesis is complicated.

By definition, modular synthesizers are only as complicated as you want them to be. And learning them will provide you with a unique set of skills and a new knowledge of signal routing and sound processing.

Myth 4: Modular synths are impossible to integrate in a film scoring workflow

While there is some truth in this, sampling is the solution. And we’ll show you how to do that step by step in this series.

Myth 5: Modular synths are a waste of time

While it’s easy to get lost playing a modular synth, this isn’t necessarily a bad thing: it will develop your creativity and artistry. 

It is your responsibility as an artist to make sure every investment of time is geared towards your personal growth.

Don’t miss part 2 of this series!

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