Film Scoring in the Digital Age
Edition: 1
Copyright: 2022
Pages: 102
Edition: 1
Copyright: 2022
Pages: 102
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New Publication Now Available!
The world is hungry for original music content.
Film Scoring in the Digital Age discusses the art of writing music that is written for and synced to fixed media. Specifically, it includes music written for dramatic films, documentaries, industrial sales films, video advertising, radio ads, games, podcasts, modern dance, and more….
Based on the author, Thomas Larson’s 40+ years in the business, Film Scoring in the Digital Age:
- examines the impact of technology and the increased access to it.
- is based on experiences working with talented producers, directors, and editors.
- discusses the creative writing process, the role of film composers / producers, and the impact of the work for hire agreement in the profession.
- introduces readers to Apple’s Logic Pro DAW, production strategies, explores the craft of composing film music, and looks at three specific film scoring techniques.
- includes suggestions for work strategies on film scoring projects, advice on purchasing plugins and sample libraries, and some links to cool film scoring-related websites.
Foreword
Chapter 1 Logic 101
Logic Layout
Creative Tools
Other Tools
Editing
Plugins
Templates
Technical Stuff
SMPTE Time Code
Importing/Exporting Movies In and Out of Logic
Bouncing an Audio File of Your Mix
Chapter 2 Production Techniques
Mixing Consoles/Audio Interfaces
Channel Strips
Signal Routing
Plugins
Chapter 3 Tools of the Trade
Tried and True Techniques
Some Film Music Terminology
Chapter 4 Developing a Concept
Before You Begin
Spotting
Reference Tracks
Time to Begin Composing
Three Elements
Creating Continuity
Refining Your Work
Crossing the Finish Line
Chapter 5 Spotting
Why Put Music in a Film?
Spotting Where the Music Starts
Spotting Where the Music Ends
Spotting the Mood
Spotting the Why and What of the Music
Some General Rules
Chapter 6 Underscore
Semiotics in Film Music
Documentary films
Historical, Cultural/Ethnic, and Geographical Underscores
Chapter 7 An Intro to Orchestration
The Sections of the Orchestra
Strings
Brass
Woodwinds
Percussion
Pitched instruments
Unpitched instruments
Chapter 8 Midi Realization
Sample Libraries
Common Midi Realization Problems and Solutions
Chapter 9 Sync
Sync Points
Free Timing
Tempo Syncing
Beat Mapping
Logic Smart Tempo
Chapter 10 Narrative Scoring
Chapter 11 Thematic Scoring
Leitmotif
Writing Memorable Themes
Chapter 12 Noise as Music
Appendix A: All You Need to Know About a Film Scoring Project
Appendix B: Stuff to Buy: Sample Libraries, Plugins, etc
Appendix C: Online Resources
Glossary
Index
Tom Larson is Assistant Professor of Composition (Emerging Media and Digital Arts) at the Glenn Korff School of Music at the University of Nebraska-Lincoln. In addition to authoring The History of Rock and Roll, he is also the author of Modern Sounds: The Artistry of Contemporary Jazz, and The History and Tradition of Jazz, both published by Kendall Hunt Publishing. His first CD of original jazz compositions, Flashback, was released in 2003. He has studied jazz piano with Dean Earle, Fred Hersch, Bruce Barth, and Kenny Werner, jazz arranging with Herb Pomeroy and music composition with Robert Beadell and Randall Snyder. In addition to performing with jazz ensembles throughout the Midwest and East Coast, he has performed with Paul Shaffer, Victor Lewis, Dave Stryker, Bobby Shew, Claude Williams, Bo Diddley, Jackie Allen, the Omaha Symphony, the Nebraska Chamber Orchestra, the Nebraska Jazz Orchestra, and the University of Nebraska Faculty Jazz Ensemble.
Tom also writes and produces music for documentary films; among his credits are the scores for three documentaries for the PBS American Experience series (a production of WGBH-TV, Boston): In the White Man’s Image, Around the World in 72 Days, and Monkey Trial. He also scored the documentaries Willa Cather: The Road Is All for WNET-TV (New York), Ashes from the Dust for the PBS series NOVA, and the PBS specials Most Honorable Son and In Search of the Oregon Trail. Tom has written extensively for the Nebraska Educational Telecommunications, South Dakota Public Broadcasting, and the University of Illinois Asian Studies Department. His music has also been used on the CBS-TV series The District. His commercial credits include music written for Phoenix-based Music Oasis, L.A.-based Music Animals, Chicago-based Pfeifer Music Partners and General Learning Communications, and advertising agencies in Nebraska.
A Lincoln native, Tom received a Bachelor of Music in Composition in 1977 from Berklee College of Music in Boston and a Master of Music in Composition
in 1985 from the University of Nebraska-Lincoln. He is also an avid runner, and completed the Boston Marathon in 2005, 2006, and 2007. More information on Tom Larson can be found at tomlarsonmusic.net.
New Publication Now Available!
The world is hungry for original music content.
Film Scoring in the Digital Age discusses the art of writing music that is written for and synced to fixed media. Specifically, it includes music written for dramatic films, documentaries, industrial sales films, video advertising, radio ads, games, podcasts, modern dance, and more….
Based on the author, Thomas Larson’s 40+ years in the business, Film Scoring in the Digital Age:
- examines the impact of technology and the increased access to it.
- is based on experiences working with talented producers, directors, and editors.
- discusses the creative writing process, the role of film composers / producers, and the impact of the work for hire agreement in the profession.
- introduces readers to Apple’s Logic Pro DAW, production strategies, explores the craft of composing film music, and looks at three specific film scoring techniques.
- includes suggestions for work strategies on film scoring projects, advice on purchasing plugins and sample libraries, and some links to cool film scoring-related websites.
Foreword
Chapter 1 Logic 101
Logic Layout
Creative Tools
Other Tools
Editing
Plugins
Templates
Technical Stuff
SMPTE Time Code
Importing/Exporting Movies In and Out of Logic
Bouncing an Audio File of Your Mix
Chapter 2 Production Techniques
Mixing Consoles/Audio Interfaces
Channel Strips
Signal Routing
Plugins
Chapter 3 Tools of the Trade
Tried and True Techniques
Some Film Music Terminology
Chapter 4 Developing a Concept
Before You Begin
Spotting
Reference Tracks
Time to Begin Composing
Three Elements
Creating Continuity
Refining Your Work
Crossing the Finish Line
Chapter 5 Spotting
Why Put Music in a Film?
Spotting Where the Music Starts
Spotting Where the Music Ends
Spotting the Mood
Spotting the Why and What of the Music
Some General Rules
Chapter 6 Underscore
Semiotics in Film Music
Documentary films
Historical, Cultural/Ethnic, and Geographical Underscores
Chapter 7 An Intro to Orchestration
The Sections of the Orchestra
Strings
Brass
Woodwinds
Percussion
Pitched instruments
Unpitched instruments
Chapter 8 Midi Realization
Sample Libraries
Common Midi Realization Problems and Solutions
Chapter 9 Sync
Sync Points
Free Timing
Tempo Syncing
Beat Mapping
Logic Smart Tempo
Chapter 10 Narrative Scoring
Chapter 11 Thematic Scoring
Leitmotif
Writing Memorable Themes
Chapter 12 Noise as Music
Appendix A: All You Need to Know About a Film Scoring Project
Appendix B: Stuff to Buy: Sample Libraries, Plugins, etc
Appendix C: Online Resources
Glossary
Index
Tom Larson is Assistant Professor of Composition (Emerging Media and Digital Arts) at the Glenn Korff School of Music at the University of Nebraska-Lincoln. In addition to authoring The History of Rock and Roll, he is also the author of Modern Sounds: The Artistry of Contemporary Jazz, and The History and Tradition of Jazz, both published by Kendall Hunt Publishing. His first CD of original jazz compositions, Flashback, was released in 2003. He has studied jazz piano with Dean Earle, Fred Hersch, Bruce Barth, and Kenny Werner, jazz arranging with Herb Pomeroy and music composition with Robert Beadell and Randall Snyder. In addition to performing with jazz ensembles throughout the Midwest and East Coast, he has performed with Paul Shaffer, Victor Lewis, Dave Stryker, Bobby Shew, Claude Williams, Bo Diddley, Jackie Allen, the Omaha Symphony, the Nebraska Chamber Orchestra, the Nebraska Jazz Orchestra, and the University of Nebraska Faculty Jazz Ensemble.
Tom also writes and produces music for documentary films; among his credits are the scores for three documentaries for the PBS American Experience series (a production of WGBH-TV, Boston): In the White Man’s Image, Around the World in 72 Days, and Monkey Trial. He also scored the documentaries Willa Cather: The Road Is All for WNET-TV (New York), Ashes from the Dust for the PBS series NOVA, and the PBS specials Most Honorable Son and In Search of the Oregon Trail. Tom has written extensively for the Nebraska Educational Telecommunications, South Dakota Public Broadcasting, and the University of Illinois Asian Studies Department. His music has also been used on the CBS-TV series The District. His commercial credits include music written for Phoenix-based Music Oasis, L.A.-based Music Animals, Chicago-based Pfeifer Music Partners and General Learning Communications, and advertising agencies in Nebraska.
A Lincoln native, Tom received a Bachelor of Music in Composition in 1977 from Berklee College of Music in Boston and a Master of Music in Composition
in 1985 from the University of Nebraska-Lincoln. He is also an avid runner, and completed the Boston Marathon in 2005, 2006, and 2007. More information on Tom Larson can be found at tomlarsonmusic.net.