This one’s all about moods. Heroic, wistful, ominous, elated, vengeful, bitter, liberated, mysterious – learning how to conjure a specific emotion for our audiences is a key skill. I’ll be covering some of the essential tricks for establishing a mood and discussing how to get from one to another quickly[...]
Let’s face it: a lot of us are writing on virtual instruments for virtual instruments, and while following the traditional rules of orchestration and composition is a fantastic approach, not everything translates; not everything works. In this class, I’ll show you how I handle this unusual beast – what I[...]
I think we should be able to do passable “impressions” of our composing contemporaries. Doing so reveals our understanding (or lack thereof) of the colors and styles we’re surrounded by – which naturally influence our own work! This oft-requested class explores the “essence” of the sounds from composers like James[...]
Writing music is one thing; writing music to picture is another. In this class I’ll be talking about strategies for thematic development within film structure, handling cue entrances/exits and transitions, techniques for orchestration in and around dialog/sound effects, working with temp tracks, and more. Plus I’ll give you some of[...]
This piece, Crimson Lake, was written as a demo to showcase The Hollywood Sound Timbral Impulse Collection: LASS Edition from Numerical Sound. It uses LA Scoring Strings v2.0 samples, with a touch of harp. For more on these great impulses, click the link above.
For years, I was fortunate to have been asked to write the music for Warner Bros. Pictures’ ShoWest Presentations. These were always grandiose commissions which employed a large orchestra, and required weaving quintessential movie-moods together in pure Hollywood fashion. Often set against a backdrop of some of the most iconic[...]
"The most pretentious thing one can do is quote oneself."Mike Verta