The first twenty minutes of my hour long portfolio are now finished and handed in. The music I have composed falls into three parts:
SGT – 400
Part one is the soundtrack for the Siemens animation. As I explained in an earlier post, the animation is for corporate purposes and is a slow motion fly-round of a 3D model of a gas turbine engine. I tried to incorporate some recordings I made of the engine sounds but they are full of screaming mid and high frequencies which masked any musical parts I put it near. I managed to squeeze it in near the beginning of the track. The complete artefact is yet to be finished; there’s still a voice-over to record and mix.
Part two is a stand alone music track I composed for the forthcoming Clearnotice compilation album. I really enjoyed working on this track as I was free to take it wherever I wanted. I ditched my usual Logic and wrote the track in Ableton (to which, I’m still a noobie), and mixed it in Pro Tools. Pure Tone did a lovely job of mastering it. The starting point for this track’s composition was a beat I made that was influenced by a Jeff Mills track. There is also a nod to Delia Derbyshire (in some of the little sprinklings on top) and the drones are a mangled Marcel Duchamp sound poem. You can hear a 30 sec preview of the track below. There are some great artists scheduled to appear on the album – I’ll post more information when it is released later this summer.
U?+ Preview by mandrill1
The third piece is the one I had the most difficulty with. It is a score for a short film. The film focusses on a WW2 veteran and includes some flashback scenes to significant moments in his wartime experience. I wanted to avoid the obvious orchestral instrumentation as much as possible and create an electronic score but, due to the period setting of some of the scenes, this proved to be difficult and I compromised with a hybrid of the two. This is my first attempt at scoring for film and I found it very tricky; always being mindful of the key points in the narrative and supporting the dialogue or action when required. I discussed the piece at great lengths with my supervisor (the writer/director of the film) and it went through six iterations until we were both happy(ish) with it. I also didn’t have split dialogue and sound effects mixes to work with, meaning some of the dialogue was very low level. You can hear the full score below and, although it works much better with the dialogue/effects track and pictures, I’m still not completely happy with it.
MA Film Soundtrack: Full Score by mandrill1