The latest episode of the SoundWorks Collection video series takes a look at the sound of Interstellar. Continue reading
In this video, CBS This Morning talks with Trent Reznor (Nine Inch Nails) about his life and career and the creative process behind scoring the suspense thriller Gone Girl with Atticus Ross. Continue reading
The latest episode of the SoundWorks Collection video series takes a look at the sound of The Hobbit: The Desolation of Smaug. Continue reading
In this video, synthesist/composer Paul Haslinger (Tangerine Dream, Underworld, Death Race, Crank) shares his thoughs on composing, his approach to sound design and the role that HALion plays in these aspects of his work.
Android, despite being the top mobile operating system, hasn’t taken off as a music platform, like iOS. But that doesn’t mean that it can’t be used to make music.
Time Elapses – A Journey is a short time-lapse film, that features a soundtrack created on Android. The track, titled Moonlight Mood, is by Nishit Gajjar, who composed it in Caustic for Android.
Here’s a behind the scenes look at composer Bear McCreary‘s score for Battlestar Galactica: Blood & Chrome, a web mini-series based in the BSG universe.
McCreary’s score is a continuation of the musical ideas from his scores to Battlestar Galactica and Caprica, but it has an increased emphasis on synthesized sounds. McCreary explains his approach:
Synthesizers have been a staple of the science fiction genre since it first graced celluloid. The most famous example is probably Louis and Bebe Barron’s iconic score for Forbidden Planet. Many other composers, from Herrmann to Goldsmith, and even John Williams, have used synthesizers to depict alien soundscapes.
But, synths can be a deadly trap for composers and filmmakers. Because the technology develops rapidly, synth scores generally do not age well. There are many great science fiction films whose place in history is threatened by a score that grows campier with every passing day.
In 2004, I avoided using synthesized sounds in “BSG” as a direct reaction to these pitfalls. The heavy, dramatic tone of that series would have been undercut by synthetic sounds. “Blood & Chrome,” however, is a different animal – it’s simply more fun. The emphasis on action and occasional comedy one-liners gave me license to introduce synthetic sounds to energize the acoustic instrumentation of the “BSG” score.
Whether or not you’re a fan of the various BSG series, McCreary offers an interesting look at modern cinematic orchestration.
This excellent three-video series features composer Nathan Johnson discussing the field recordings he and his team used to create the musical fabric for director Rian Johnson’s film Looper. The cue Time Machine from the score is featured.
Johnson took a unique approach to the score, using a field recorder to gather material and then using the found sound as the basis for loops, sample-based instruments and a virtual orchestral.