The Composer Collective

TeamScore - Webisode

noreply@blogger.com (Evan Evans) — Thu, 04 Dec 2008 21:00:00 +0000

The Composer Collective presents a new TeamScore™ project:

2-Minute Webisode
"Real Single Moms"

Job:
Musical Knockoff of bass and rhythm of a Brazilian sounding track by Jaco Pastorious called "

Benefits:
$100
You keep rights
Credit your resume

DEADLINE: 11pm PST, December 7th, 2008

TEAMSCORE™
"Our jobs are your jobs, your talent is our talent!"
Compare to MANDY, SubmitDIRECT, RemoteControl, and others...

Available to TeamScore Members Only. To become a TeamScore Member and gain access to all of our projects at once ... simply subscribe now. Click SUBSCRIBE below:

PROJECT ACCESS SUBSCRIPTION
($5 first month, $8.33/month thereafter($25 quarterly)*)

*any dispensed portion of your subscription rate, is non-refundable

Server Change

noreply@blogger.com (Evan Evans) — Sat, 15 Nov 2008 20:30:00 +0000

Members who access our project collaboration website may notice that, the old location, e3entertainment.projectpath.com,
no longer works. There is no need to panic. Your same login and password work at the new location. Go to:

http://tccnet.projectpath.com

Our apologies for any inconvenience. This was a one-time relocation, and will not occur again. If you have further inquiries, please email:
projectaccess@thecomposercollective.com

Internship at The Composer Collective

noreply@blogger.com (Evan Evans) — Sat, 15 Nov 2008 11:18:00 +0000

SHARPEN YOUR FILM COMPOSER BUSINESS SKILLS

You already have this composing thing down cold … now it’s time to:

* Learn how to procure work
* Find out where the work is
* Learn powerful organizing systems
* What’s better, the aggressive or soft sell? (hint: the answer is neither)
* Rapport strategy
* How many attempts does it take to get a particular gig?
* Selective diligence
* Deal memos, contracts, terminology
* Negotiating a deal
* Phone or Email?
* Improve client loyalty

Would you like to become a powerhouse in the film music business? You need to start putting in some time here at our office in Calabasas, CA, with Matt, Myself(Evan), and the others.

You will be helping secure more work for TeamScore members, which really means more work for you too!

* Every day you show up, we’ll provide you with world-class catered lunch on us! After all, we’re in Calabasas, the “New Beverly Hills”!

Number Of Positions Available: 20

MUST BE LOCAL

Submit resume:
internship@thecomposercollective.com

TeamScore - Psychological Thriller

noreply@blogger.com (Evan Evans) — Thu, 13 Nov 2008 11:03:00 +0000

The Composer Collective presents a new TeamScore™ project:

90-Minute Psychological Thriller
Click Here To Request Details and Deal Points

PROJECT ACCESS SUBSCRIPTION
($5 first month, $8.33/month thereafter($25 quarterly)*)

*any dispensed portion of your subscription rate, is non-refundable

Learn Instrumentation NOT Orchestration

noreply@blogger.com (Evan Evans) — Sat, 01 Nov 2008 18:47:00 +0000

Okay, that was just to suck you in, there is a lot of wonderful things to learn in orchestration, but my point is that if you truly know the instruments, you can create your own way of combining them, saving "orchestration" for your own artistic contribution.

It's like being a chef. Find out all the properties of the ingredients, learn the basic types of combinations, then see if you can create something new with that understanding, something you know people will love.

The best book on instrumentation is bar none:

Alfred Blatter
"Instrumentation / Orchestration"

Just to set the record straight, there is hardly any amazing orchestration tips in here. But what he does do is give you an understanding of the basic orchestrations possible, just like a chef being taught how to make a chicken noodle soup. And on the Instrumentation side, this book is de facto ... giving notation for all kinds of instrument idiosyncracies and ranges, sound qualities, and all of his descriptions I can testify are just what he says. They truly come out as he describes.

And finally there is no substitute for hands on learning. Make sure you create your share of instrument experiments so you can find out the truth for yourself.

Remember, Bernard Herrmann wrote 1200 radio shows before doing his first film "Citizen Kane".

"Tripling" versus "Doubling" in Orchestration

noreply@blogger.com (Evan Evans) — Fri, 17 Oct 2008 22:48:00 +0000

Truthfully doubling is tripling and more. Doubling is the addition of other instruments to a musical line, color, or shape. So doubling includes tripling. But in Blockbuster Hollywood orchestration, to give the sound an unfaltering level of production quality, doubling has to be at least … “tripling”.

”...tripling sounds great. Thnks :)” - Vivian Khor, Composer and Sound Designer

It’s psychology. The mind can deduce a foreground by eliminating a background. But when you introduce a third element, it cannot separate two things since it can’t combine either of the other two into just a foreground or background category to then subtract from the rest.

And this is why at least tripling all your compositional elements, creates a presentation of them at a higher level that cannot be broken down by the mind, thus giving it an uncrumbling foundation of richness … a hallmark of a great orchestrator.

Anything less than tripling could be subject to the listeners critique of any single element’s qualities.

I like to say:
“Everything can be broken down to a triangle.”
There is no simpler complete piece of information that can be conveyed by less than a triangulation of points.

If you want your music to sound more expensive, make sure the listener cannot break it down into cheaper components. No one can hear through “triangulation”.

Mock Up Mistakes (Post #4)

noreply@blogger.com (Matt Gates) — Wed, 15 Oct 2008 21:52:00 +0000

Weird orchestration:

Just because it's synth doesn't give you license to throw out all the orchestration rules. It is outside of the scope of this blog to talk about orchestration but suffice it to say that improper orchestration is a great way to make your stuff sound synthy (and crappy).

I also hear a lot of two things: over-orchestrated and under-orchestrated - the first is somewhat more acceptable - but it boils down to this - if you aren't going to have it played live (and I mean by a full orchestra replacing your synth) - there is really no need to put every double known to mankind in there - just because you have the RAM for it, it will end up sounding like a pipe organ - not to mention there is an increased likely hood you will not balance the timbres properly. Under-orchestration just sounds lazy (unfortunately for us lazy people) - put some counter lines in there - some additional harmonic content provided by a unique color - something to spice things up (unless of course you need it to be bland for whatever reason).

TeamScore - SciFi Feature Film

noreply@blogger.com (Evan Evans) — Wed, 08 Oct 2008 23:45:00 +0000

The Composer Collective presents a new TeamScore™ project:

Feature Length Film - Sci-fi Action
Click Here To Request Details and Deal Points

PROJECT ACCESS SUBSCRIPTION
($5 first month, $8.33/month thereafter($25 quarterly)*)

*any dispensed portion of your subscription rate, is non-refundable

Common Mock Up Mistakes (post #3)

noreply@blogger.com (Matt Gates) — Wed, 08 Oct 2008 21:52:00 +0000

This weeks post is about the common improper use of reverb.

It's important to have an idea what your final use is going to be. Under dialogue - heavily defused music just sounds too distant.

It's vital to create different reverb settings for different sections. You need at least 2 - one for close one for far - percussion and brass just don't sound right very close/dry whereas strings lose their edge when they are too diffuse. It's a balancing act. Even more subtlies can be obtained by using more reverbs just make sure you aren't introducing phase or creating an overly diffused mix.

I highly recommend a good convolution reverb such as Altiverb, TL Space, or possibly gigapulse - but these all require tweaking. It's not that daunting - get in there and customize it!

Feature Length Film - Open To TCC Composers!

noreply@blogger.com (Evan Evans) — Tue, 07 Oct 2008 08:59:00 +0000

This could be the break you've been looking for!

You can get your cues into our latest project, a feature length film called "The Scarf", a "tween"-mystery-drama.

We're currently beta testing a new program unique to The Composer Collective called:

TEAMSCORE
"The Future Of Film Scoring"

Under this program, every member of The Composer Collective is instantly approved to be on a project's "B Team" AKA: "Backup Team". You get access to the music development web office where our "A Team" members are collaborating. That's where you can read spotting notes, cues needed, director comments, listen to "A Team" members' cues, and the most exciting part is that you can upload and submit your own cues for scenes in the hopes that if the project manager approves them for client approval, that the client themselves will approve your creation. If that happens, you instantly get placed on the "A Team", and you get the benefits of your fellow "A Team" members, which on this "The Scarf" project, include:

$20-$25 per minute of final placed music

Screen Credit

50% Writer's Cue Sheet Credit Affordance

Right to own, control, and use your tracks in other productions or libraries

If you are a member of The Composer Collective (for instance you are on our Opportunites mailing list), and you want to start working on the "Backup Team", email project leader EVAN EVANS now at eevans@thecomposercollective.com to receive all the materials you need to get started.

Documentary - Open To TCC Composers!

noreply@blogger.com (Evan Evans) — Sat, 04 Oct 2008 20:44:00 +0000

This could be the break you've been looking for!

You can get your cues into our latest project, a travelogue called "Laughing With Pigmies" about the four Pigmy tribes of Papua.

We're currently beta testing a new program unique to The Composer Collective. Under this program, every member of The Composer Collective is instantly approved to be on a project's "B Team" AKA: "Backup Team". You get access to the music development web office where our "A Team" members are collaborating. That's where you can read spotting notes, cues needed, director comments, listen to "A Team" members' cues, and the most exciting part is that you can upload and submit your own cues for scenes in the hopes that if the project manager approves them for client approval, that the client themselves will approve your creation. If that happens, you instantly get placed on the "A Team", and you get the benefits of your fellow "A Team" members, which on this "Laughing With Pigmies" project, include:

Screen Credit

100% Writer's Cue Sheet Credit Affordance

Right to own, control, and use your tracks in other productions or libraries

Right to any pro rata share of a music production budget (at this time "Pigmies" does not have a music production budget, but that can change at any time)

Get Your Music Into Movies - CuePop

noreply@blogger.com (Evan Evans) — Fri, 03 Oct 2008 23:38:00 +0000

Do you have music on your shelf collecting dust? How about having it collect money instead? Upload your stagnant library of music, to our sister site, CuePop:
http://www.cuepop.com

Over 7000 member filmmakers means tracks are being licensed every day. Some composers with over 100 uploaded tracks have been placed in over 50 productions. All while they sat back and sipped a Margarita, on a beautiful sandy beach paradise. :-)

The deal is respectful and exciting: You agree to sub-license your music to CuePop to license on your behalf to it's massive network of clients ... all non-exclusively. So you are free to own and continue to use and license your tracks on your own forever. In exchange, CuePop files cue sheets where you get 100% writer's credit affordance. Additionally, you set your own licensing prices for which you reap an even split with CuePop (50%). So for instance, for a CD-ROM which doesn't generate ASCAP or BMI royalties you can price it at $300 a needle-drop (for which you'll get $150), but for a feature film placement, you can either give it away free or charge a nominal $10 or $20. The more tracks you get into movies and TV shows that are broadcast, the more you are investing in your future royalty income stream.

The better your music, the more often it will get used.

INCENTIVE:
Anyone who uploads 100 tracks get's a $100 iTunes gift card.

Finally, it's risk free without obligation. You can ask to have your tracks removed at any time. You can change the pricing of your tracks at any time, to expirement and see if lowering your prices gets you more activity.

Some Mock Up Tips (Post #2)

noreply@blogger.com (Matt Gates) — Wed, 01 Oct 2008 21:52:00 +0000

Use of proper articulations (and common misuses)

A) Legato patches - there are two types of legato patches: the old kind, which was basically a slow attack and a slow release and was virtually pointless and the new kind perfected by VSL. These legatos allow for fast runs as well as connected and seemingly phrased contrapuntal lines. Many other libraries have tried to emulate this technology. Often by cutting of the front of the notes and inserting some kind of legato sound algorithm. These are inferior but can work better than a regular sustain patch at least. A common misuse related to legato is using a staccato patch (only) for fast material. Staccato patches are fine if used in conjunction with legato patches but used by themselves to play fast material (such as runs) they quickly reveal an unacceptable level of synthyness. The problem is finding a patch that has enough pitch on attack - VSL's performance legatos are the key to overcoming this problem. Another tip is when switching back and forth between legatos and staccatos on the same instrument dove the two patches on the changeover and make sure there isn't a noticable patch change.

Advanced Tip for VSL Users: Use other secret legatos from VSL - they really aren't secret but I know of very few people who use these excellent samples:

1. Performance legato grace notes - the Woodwinds are sampled up to a full octave on these and are superb for flourishes and other legato lines (try it out with the flute at least!) The release on pro edition is only 4 seconds and I am not sure about what they are called in the new CUBE which I have not had much of a chance to play with but I am sure they are looped in the cube which makes them even more usable.

2. Performance Trills for fast arpeggios - The performance trills are an excellent improvement over legatos in that each interval was sampled 4-8 times - so you can do trills, fingered tremolos and arpeggios up to an interval of a third without something similar to the machine gun effect happening.

Common Mistake of the week:

Writing TO a Drum Loop

Common mistake - don't do it. Write your music first then program the drums. If you need to use a loop fine but write the music FIRST.

Free Class on Friday October 3rd, at 11:00am

noreply@blogger.com (Evan Evans) — Tue, 30 Sep 2008 08:04:00 +0000

We are holding Class # 13 "Production Quality, Part II: Mixing & Mastering" at 11:00am Friday October 3rd, 2008, until 12:30pm. We will all be walking to lunch nearby afterwards. This is a free class. We're alpha testing the course for this fall's Master Class Series. Class is here, at The Composer Collective. Colleagues welcome.

13. Production Quality, Part II

Audio / Sonics
Mixing, Mastering
Effects and Bussing/Grouping
Dynamics

RSVP (Yes, Maybe, No):
http://www.evite.com/app/publicUrl/PWJOJEQGWAWYZFMAHDAC/tccclass13

Attending The Composer Expo

noreply@blogger.com (Evan Evans) — Sun, 28 Sep 2008 05:42:00 +0000

The Composer Collective was invited to come to this year's Composer Expo in Los Angeles. I went and met with many fine up and coming composers, and also got to see some of my old acquaintances and friends, such as Armando Torres, and John Rodd. During the final panel discussion which included Lalo Shifrin, Hummie Mann, John Ottman, and Bear McCreary, Lalo asked me to stand up and introduced me as he answerred a question relating to technology in the composer's studio. I taught Lalo how to use Sibelius and a few synthesizers. He also, of course, mentioned my link to my dad, Bill Evans, and Hummie Mann chimed in with his admiration for him.

Afterwards, I snatched a photo with Lalo while we spoke about things. Also I had a chance to speak with John Ottman, Hummie, and Bear out in the hallway.

I also happened across Jessica Derooij (sp?), who attended last week's orchestration class here.

In the Technology Hall, DVZ was demo-ing their Strings engine, which is very impressive. Take a listen if you get a chance. They've slashed their prices, and minimized the computer requirements.

I look forward to seeing many of the composers I met tonight, signing up for The Composer Collective.

Dynamics

noreply@blogger.com (Matt Gates) — Wed, 24 Sep 2008 21:52:00 +0000

I. Dynamics. My number one key production technique (especially for orchestral mockups) is dynamics.

A) Timbre change vs. Decibel Change: If you want the most realistic mockups it's vital to understand how to control timbre change and understand how it's sounding compared to real orchestra. If you aren't already using a sample library that allows you to crossfade between different dynamics layers it's time to start. VSL, Sonic Implants, project SAM are all excellent examples of sample libraries that utilize this function. This is especially important on sustain sounds and doesn't apply to staccato type patches. Using volume (decibel level) to change dynamics should be used exceedingly sparingly and only as means to realistically balance timbres.

B) Curve shapes: Parabolic Vs Straight lines. Better than even playing in dynamics is programing the curves properly. It's very important to be exacting. Again it's important to have the sound of the orchestra in your ear as you compare your dynamics to the real thing. Often times parabolic curves of varying degrees are more affective.

C) Timbrel balances vs Decibel balances. One of the worst things you can do is have cuivre (brassy) brass that is mixed way too soft compared to the other no cuivre sounds. To produce a brassy sound is synonymous with playing loudly (in all but the rarest of instances). This even applies to other instruments but it's most noticeable on the brass since they have the largest timbre change when they play louder.

D) Wrangling staccato patch problems: I hope most of you have discovered the joy of staccato patches, unfortunately, they are some of the most poorly programmed instruments in most libraries. In terms of dynamics there are often big gaps between different dynamic layers. There is no easy solution to this but being aware of the problem is part of the solution. What I usually do is test each layer and see what the different tonal characteristics are - often I'll stick between two layers that are close enough to not be noticeable and use DB volume often controlled in part by velocity (okay in this case) to create more dynamics. It's also very important that you are using alternation patches and/or using varied velocities to avoid the machine gun effect.

Music Technology (It's Importance, tips, tricks and common mistakes)

noreply@blogger.com (Matt Gates) — Wed, 17 Sep 2008 21:52:00 +0000

The Importance of Music Technology

I want to point out some reasons music technology is so important as well as some ways to incorporate more tricks and ideas into your arsenal.

First of all, many people undervalue the importance of making the most of music technology. People can own $50,000 gear and not really understand how to make it sound good vs a guy or a gal who puts everything he or she has into making his or her $5,000 setup sound awesome. It's all a matter of what value you place on getting the best sound possible. It's time to get over being a "purist." Music technology is probably going to be a common if not primary means of expression and it's time you found a way to express yourself that also sounds excellent. Let's face facts: Movies under the $20 million mark don't have money for full orchestra - you ARE going to be heavily reliant on your gear to supplement any live instruments (if you are even that lucky). Not to mention all the jobs in which time constraints make recording impossible. Of course, I don't need to mention that if you have demos that include poorly produced music you are going to have a very hard time finding work. And when you are making a million a picture and have a full orchestra you're still going to have to do mockups. Don't undervalue making your mockups sound awesome.

Each week I will post some tips tricks and common mistakes in the field of music technology to help you make the most of this important area.

Free Class On Thursday September 18th, at 4:30pm

noreply@blogger.com (Evan Evans) — Tue, 16 Sep 2008 05:08:00 +0000

We are holding Class # 11 "Orchestration" at 4:30pm Thursday September 18th, 2008. This is a free class. We're alpha testing the course for this fall's Master Class Series. Class is here, at The Composer Collective. Colleagues welcome.

11. Orchestration

Overtone Series
Blends
Universal Clef (Subtle Tweaks)
Arranging vs. Orchestrating
Arranging = Horizontal Adaptation Of Composition
Orchestration = Vertical Adaptation Of Composition
Instrument Idiosyncracies

RSVP:
http://preview.evite.com/event/tccclass11

"The Changeling" dir: Clint Eastwood - Trailer

noreply@blogger.com (The Composer Collective) — Mon, 01 Sep 2008 18:20:00 +0000

The Composer Collective did orchestral mock-ups for the Trailer for Clint Eastwood's new film "The Changeling".

Free Class On Thursday August 7th, at 4:00pm

noreply@blogger.com (Evan Evans) — Tue, 05 Aug 2008 01:15:00 +0000

We are holding Class # 10 "Writing Your First Cue, Part II" at 4:00pm Thursday August 7th, 2008. This is a free class. We're alpha testing the course for this fall's Master Class Series. Class is here, at The Composer Collective. Colleagues welcome.

TCC Lands "The Scarf"

noreply@blogger.com (Evan Evans) — Tue, 15 Jul 2008 08:38:00 +0000

The Composer Collective has been assigned to create the music for the family film, "The Scarf". Matt Gates is lead composer, and TCC President and Founder Evan Evans will be acting as project manager. The project begins this fall.

Composers wishing to work on the project may take this time to submit their intentions, with any questions, to the Project Manager at: eevans@thecomposercollective.com.

TCC Opportunity - $20,000

noreply@blogger.com (Evan Evans) — Fri, 27 Jun 2008 15:44:00 +0000

The Composer Collective currently has on it's plate an independant feature film with a story revolving around some aging mobsters. The music budget is going to be between $15000 and $25000. Anyone wishing to submit for the job, is welcome to ask for the three clips to spec demo to. Deadline for submissions is July 7th. If interested, email us at: mafia@thecomposercollective.com with the subject "July Mafia".

"Skeletons In The Desert" Premiere at Universal

noreply@blogger.com (Evan Evans) — Fri, 13 Jun 2008 06:55:00 +0000

Attending the 7pm red carpet Premiere to "Skeletons In The Desert" at Universal Studios CityWalk, were composers Michael Dobbins, Robert Safir, Devin Glass, Steve Mazzaro, Jamie Hall, Andrew Silagy and from The Composer Collective, Matt Gates and Lead Composer Evan Evans. Also attending was recording engineer Preston Shepard.

After the film, we all headed over to the Hard Rock Cafe for dinner and loud conversation, where the above photo was taken around midnight.

In the photo above, from left to right is Devin Glass, Matt Gates, Brenna Consullo, Evan Evans, Andrew Silagy (and friend), Steve Mazzaro, Robert Safir, and Jamie Hall. (Photo by Fonjé DeVré).

Matt Gates in Arts section of PostStar.com

noreply@blogger.com (Evan Evans) — Sat, 07 Jun 2008 19:42:00 +0000

Opportunity Coming

noreply@blogger.com (Evan Evans) — Fri, 06 Jun 2008 22:54:00 +0000

Just wanted to let our members know that we will be sending an opportunity email in the next 3 weeks for a decent indie film. The musical budget to be in the $15000-20000 range. It will require writing 3 spec cues. Those interested should set aside some time in the next 3 weeks to work on this.

Evan