weeklyFILM MUSIC

FILM MUSIC RADIO: Daniel Schweiger interviews composer Marco Beltrami SCORING NEWS: “Powder Blue” (Aaron Zigman), “My Zinc Bed” (Simon Boswell) and more

CD REVIEW: Daniel Schweiger reviews “Monstrous Movie Music”

THE CHART DOCTOR: “Taking A Button And Sewing A Vest On It” by Ron Hess

MUSIC TECHNOLOGY: “Is It 64bit Yet?” by Peter Alexander

ISSUE 49 • FEBRUARY 5, 2008 • Published weekly by Global Media Online, Inc. • Publisher: Mark Northam • www.filmmusicweekly.com

(continued pg.3)

Copyright Board Begins Mechanical Royalty

Rate Hearings

n Sydney, Australia’s Trackdown Scoring Stage has announced the

completion of its latest project for a US film score with the re-mote recording of John Powell’s score to the upcoming feature film Jumper starring Hayden Christensen and Samuel L. Jack-son.

The score was recorded re-motely without any of the US music production team needing to be present in Sydney, with

the composer in his home studio in Los Angeles giving instruc-tions to Trackdown engineer Tim Ryan, conductor Brett Weymark and the Sydney Scoring Orches-tra via a realtime audio and timecode linkup. Music prep and copying was handled by Sydney’s Jigsaw Music headed by Jessica Wells, who also served as orches-trator with James K. Lee. Other

Sydney personnel on the project included assistant orchestrators Daniel Baker and Bryce Jacobs and copyists Laura Bishop and Natalie Williams.

The music was recorded un-der a buyout agreement with no residuals as is standard with Australian score recording or-chestras.

Sydney’s Trackdown Scores With Buyout Remote Recording Sessions

Harry Fox Agency Upgrades Online

Mechanical Licensing

n On January 28, the Copyright Royalty Board (CRB) began hear-ings that will determine mechani-cal rates for composers, song-writers and music publishers. In addition to setting rates for physi-cal products, rates will be set for digital downloads, subscription services and ringtones.

The National Music Publish-ers’ Association (NMPA) says they will be representing the interests of writers and publishers. In oppo-sition to the NMPA, the Recording

Industry Association of America (RIAA) and the Digital Music As-sociation (DiMA) have proposed significant reductions in mechani-cal royalty rates.

NMPA President & CEO Da-vid Israelite stated, “The current rate for physical phonorecords is 9.1 cents. The RIAA has proposed slashing the rate to approximate-ly 6 cents a song - a cut of more than one-third the current rate! For permanent digital downloads, (continued pg.3)

n Music licensing organization The Harry Fox Agency, Inc. (HFA has upgraded its Songfile online mechanical licensing service by lowering the minimum quantity of licenses to 25 copies for all for-mats, and adding electronic check as a payment option. Songfile can be used by musicians who plan to make and distribute 2,500 copies or less of their recordings to ob-tain the necessary licenses for cover versions of songs. Licenses can be obtained for CDs, cas-

settes, LPs, or permanent digital downloads (DPDs).

“We surveyed over 32,000 Songfile users, and a smaller transaction minimum was a top request,” said HFA’s CEO & President Gary Churgin. “We expect that the electronic check option will be a big help for in-dividuals and organizations that don’t have credit cards yet still wish to use the service. If you did not write the song you recorded, (continued pg.3)

2� ISSUE�49�•�FEBRUARY�5,�2008 weeklyFILM MUSIC

Publisher: Mark Northam Editor: Mikael Carlsson

VP Finance and Operations: Rebecca Lee Art Director: Joshua Young

Advertising Manager: Steve SchatzbergCopy Editor: Lisa Rawson

Technology Editor: Peter Alexander Soundtrack Editor: Daniel Schweiger

Customer Service Manager: Robyn Young Website Design: Rakesh Rai

Accounting: Tina Chiang Legal Advisor: Patricia Johnson, Esq.

Film Music Weekly is published weekly by Global Media Online, Inc.Executive and Editorial Office: 23360 Velencia Blvd. Suite E-12, Valencia, CA 91355. Tel: 310-209-8263 Fax: 310-388-1367, email: info@filmmusicweekly.com. We are not responsible for unsolicited material. All Rights Reserved. Reproduction in whole or in part without written permission of the publisher is prohibited. The opinions of contributing writers and editors to this publication do not necessarily reflect the views of Global Media Online, Inc. or any of our divisions, management or staff.

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weeklyFILM MUSIC This Week on

FMRFILM MUSIC RADIO

ON THE SCORE

MARCO BELTRAMI

Film music journalist Daniel Schweiger interviews

composer MARCO BELTRAMI,

who turns his musical vision to terror again with

THE EYE.

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ISSUE�49�•�FEBRUARY�5,�2008� 3weeklyFILM MUSIC

INDUSTRY NEWSSydney’s Trackdown Scores With Buyout Remote Recording Sessions (continued. from pg 1)

A key element of the Trackdown remote recording setup is a real-time 128 kb/s audio link between the studio and the U.S. com-poser that utilizes Source Elements’ Source Connect Pro plug-in software for Pro Tools. There are two separate headphone sends es-tablished from the composer’s US studio to Trackdown – one to speak privately with the conductor, and another to allow the composer to speak to the entire orchestra. A live stereo monitor mix is sent from Trackdown to the composer’s studio, and timecode is sent from Trackdown to the composer’s sequencer that allows the sequencer to lock to the sessions and send synth guide and backing tracks to

Copyright Board Begins Mechanical Royalty Rate Hearings (continued. from pg 1)

NMPA is proposing a rate of 15 cents per track because the costs involved are much less than for physical products. The RIAA has proposed the outrageous rate of approxi-mately 5 to 5.5 cents per track, and DiMA is proposing even less. For interactive stream-ing services, which some analysts believe will be the future of the music industry, NMPA is proposing a rate of the greater of 12.5% of revenue, 27.5% of content costs, or a micro-penny calculation based on usage. The RIAA actually proposed that songwrit-ers and music publishers should get the

Trackdown that are heard by the orchestra as they record.

This is the third film score of John Pow-ell’s that Trackdown has recorded. His en-gineer Shawn Murphy, (Star Wars, Mission Impossible, Harry Potter) considered one of the world’s leading orchestral film score engi-neers, first experienced Trackdown when he came to Sydney to record John Powell’s score to Happy Feet. Since then he has overseen two “virtual” Powell scores (the first being PS I Love You) recorded at Trackdown.

Trackdown offers a full range of music services for feature film and TV, including Australia’s largest purpose built orchestral

scoring stage located at The Entertainment Quarter (adjacent to Fox Studios Australia). Scoring credits include Happy Feet, Aquama-rine, Romeo X Juliet, Typhoon, Salem’s Lot, and PS. I Love You. Trackdown also features music editing facilities including six ProTools suites headed by engineers Simon Leadley and Tim Ryan, whose music editing credits include Happy Feet, Aquamarine, Peter Pan, Master & Commander, No Reservations, Dis-grace, Inspector Gadget II, George of the Jun-gle II and Moulin Rouge.

For more information about Trackdown, visit www.trackdown.com.au

equivalent of .58% of revenue. And DiMA is taking the position that songwriters’ and music publishers’ mechanical rights should be zero, because DiMA does not believe we have any such rights!”

SGA counsel Charles J. Sanders stated, “The independent songwriter community, through its own strong voice, is united in its efforts to lead the fight for fair compensa-tion for creators and copyright owners in the current mechanical royalty rate hearings. Songwriters stand shoulder to shoulder with their music publisher partners in this strug-

gle, and will brook no attempts - whether in-stigated by foes or professed but conflicted allies - to unduly influence or disrupt our ef-forts to guarantee equity over extinction for music creators.”

The initial hearing will last four weeks, with the three permanent Copyright Royalty Judges hearing arguments Mondays through Thursdays from 9:30 a.m. - 4:30 p.m. each day. At the conclusion of the initial hearing, there will be more discovery, followed by a rebuttal hearing in May, and a final decision expected on October 2.

Harry Fox Agency Upgrades Online Mechanical Licensing (continued. from pg 1)

you need a mechanical license, and HFA wants to make that process as simple as possible.” Customers can cre-ate an account with the Songfile service, search HFA’s catalog of almost 1.9 million songs, and complete their mechanical licens-ing transaction in minutes. Royalties are cal-culated at the statutory mechanical rate (cur-rently 9.1¢ per copy for songs 5 minutes or less in length, or 1.75¢ per minute (or fraction thereof) per copy, for songs over 5 minutes). There is also a nominal processing fee on each

song licensed. If a user just wants to conduct research, there is a separate Songfile Public Search tool on the website available free of charge.

Mechanical licenses are required under U.S. Copyright Law if one wants to duplicate and distribute a recording of a song that is owned by someone else. Through proper li-censing, the publisher, and ultimately, the songwriter, are compensated for the use of their work. Duplicators and online music sites require copies of licenses before replicating re-

cordings or offering them online. Customers must be conducting business

in the U.S., and have a valid credit card or checking account with a U.S. billing address. Licenses for songs on physical products and for DPDs must be obtained in separate trans-actions. For physical products, users are able license multiple songs for one physical album at a time, or users can obtain up to 50 separate DPD licenses in a single transaction.

For more information, visit www.harryfox.com

4� ISSUE�49�•�FEBRUARY�5,�2008 weeklyFILM MUSIC

THIS WEEK’S MAJOR SCORING ASSIGNMENTS

Aaron�Zigman: Powder Blue

Prolific�composer�Aaron�Zigman,�who�scored�eight�(!)�films�last�year,�has�added�two�new�films�to�his�filmography�on�his�official�website.�The�first�one�is�Powder

Blue,�a�drama�written�and�directed�by�Vietnamese�helmer�Timothy�Linh�Bui�(Green Dragon)�and�featuring�an�impres-sive�cast�including�Jessica�Biel,�Forest�Whitaker,�Ray�Liotta,�Lisa�Kudrow,�Patrick�Swayze�and�Kris�Kristofferson.�The�film�takes�place�on�Christmas�Eve�where�four�strangers�come�together�by�a�mixture�of�circumstances.�The�other�new�film�added�to�Zigman’s�work�list�is�Flash of Genius,�a�drama�directed�by�Marc�Abraham,�who�is�making�his�helming�debut�after�many�years�in�the�producer’s�chair�(among�the�films�he�has�produced�are�Children of Men,�Dawn of the Dead�and�Air Force One).�

Paul�Haslinger: While She Was Out

Paul�Haslinger�is�doing�the�music�for�While She Was Out,�a�thriller�starring�Kim�Basinger,�Lukas�Haas�and�Craig�Sheffer.�Produced�by�Angry�Films,�for�whom�

Haslinger�scored�Shoot ’Em Up last year,�it’s�based�on�a�short�story�by�Edward�Bryant�about�a�woman�who�goes�for�a�quick�shopping�tour�and�ends�up�in�a�desolate�forest�fighting�for�her�life.�Susan�Montford,�who�produced�Shoot ’Em Up,�directs.�Haslinger’s�other�upcoming�films�include�Prom Night�and�Make It Happen.

Alex�Wurman: Five Dollars a Day

Alex�Wurman�(An-chorman: The Legend of Ron Burgundy,�Talladega Nights: The Ballad of Ricky Bobby,�Confessions�of�a�Dangerous Mind)�provides�the�

original�score�for�Five Dollars a Day,�a�comedy�starring�Christopher�Walken�and�Sharon�Stone.�It’s�directed�by�Nigel�Cole,�who�previously�worked�with�Wurman�on�

the�romantic�comedy�A Lot Like Love in�2005.�The�film�is�produced�by�Capitol�Films�and�Carol�Baum�Productions�for�re-lease�by�Thinkfilm�later�this�year.�Wurman� has�also�recently�scored�The Promotion,�another�comedy�by�Steve�Conrad�who�wrote�the�screenplay�for�The Pursuit of Happyness.

Simon�Boswell: My Zinc BedSimon�Boswell,�the�British�composer�who�has�written�stylish�scores�for�films�such�as�Hackers,�Shallow Grave�and�A Midsummer Night’s Dream,�is�currently�scoring�My Zinc Bed,�a�drama�starring�Uma�Thurman�and�Jonathan�Pryce.�It’s�based�on�David�Hare’s�play�and�directed�by�Anthony�Page,�a�72-year-old�veteran� who�is�making�his�first�feature�film�since�1993!�The�film�tells�the�story�about�a�recovering�alcoholic�who�falls�in�love�with�his�boss’�wife.�HBO�Films�and�BBC� co-produce�for�release�this�year.�Boswell�was�recently�nominated�to�an�Internatio-nal�Film�Music�Critics�Association�Award�for�his�TV�score�Tinman.

THE SCOREBOARD Panu Aaltio: The�Home�of�Dark�Butterflies.Tree Adams: Emilio�•�Farewell�Bender.Eric Allaman: Race.John Altman: The�Master�Builder�•�Shoot�on�Sight.Marco D’Ambrosio: Say�Hello�to�Stan�Talmadge.David Arnold: How�to�Loose�Friends�and�Alienate�People�•�Bond�22.Alexandre Azaria: L’auberge�rouge.Niclas Baby: Cortex.Luis Bacalov: L’uomo�privato.Angelo Badalamenti: The�Edge�of�Love�•�Secrets�of�Love.Klaus Badelt: Heaven�and�Earth�•�Killshot�•�Dragon�Hunters.Roque Baños: Las�13�Rosas�•�The�Oxford�Murders.Lesley Barber: A�Thousand�Years�of�Good�Prayers.Nathan Barr: Watching�the�Detectives�•�Tortured.Tyler Bates: Day�of�the�Dead�•�Doomsday�•�Watchmen�•�The�Day�the�Earth�Stood�Still.Kyle Batter: Secret�Society�(co-composer).Jeff Beal: Where�God�Left�His�Shoes�•�Salomaybe?�•�The�Deal�•�The�Pixar�Story.Christophe Beck: Drillbit�Taylor.Marco Beltrami: In�the�Electric�Mist�with�Confederate�Dead.Jean-Michael Bernard: Be�Kind�Rewind�•�Détrempoez-vous. Charles Bernstein: Tenebrous.Doug Besterman: Exit�Speed.Scott Bomar: Maggie�Lynn.

Simon Boswell: Bathory. Jason Brandt: Something’s�Wrong�in�Kansas.David Buckley:�Town�Creek�•�The�Forbid-den�Kingdom�(co-composer).Kenneth Burgomaster: Garfield’s�Fun�Fest�•�Hero�Wanted.Mickey Bullock: Sportkill�•�Orville.Carter Burwell: In�Bruges.Edmund Butt: The�Waiting�Room.Niall Byrne: How�About�You.Brian Cachia: Gabriel.Peter Calandra: The�Sickness.Paul Cantelon: The�Other�Boleyn�Girl.Jeff Cardoni: Save�Me�•�American�Pie:�Beta�House.Nigel Clarke & Michael Csányi-Wills: The�Grind.George S. Clinton: Harold�and�Kumar�2.Elia Cmiral: The�Deaths�of�Ian�•�Mission-ary�Man�•�Tooth�and�Nail.Chandra Cogburn: Fiesta�Grand�•�Orgies�and�the�Meaning�of�Life�•�The�Bard:�The�Story�of�Robert�Burns.Graham Collins: Black�Kissinger.Juan J. Colomer: Dark�Honeymoon.Eric Colvin: Mariposa.Normand Corbeil: Ma�fille,�mon�ange�•�Boot�Camp�•�Emotional�Arithmetic.Jane Antonia Cornich: Solstice.Bruno Coulais: Max�&�Co�•�Les�Femmes�de�l’ombre.Burkhard Dallwitz: The�Interrogation�of�Harry�Wind�•�Chainsaw.Jeff Danna: Lakeview�Terrace�(co-compos-er)�•�The�Imaginarium�of�Doctor�Parnassus�(co-composer). Mychael Danna: Lakeview�Terrace�(co-composer)�•�The�Imaginarium�of�Doctor�Parnassus�(co-composer).Carl Davis:�The�Understudy.Erik Desiderio: He’s�Such�a�Girl.Marcello De Francisci: The�Butcher.Wolfram de Marco:�The�Tribe.Jessica de Rooij:�Postal�•�Tunnel�Rats�•�Far�Cry�•�Seed.John Debney: Big�Stan�•�Bachelor�No.�2�•�Starship�Dave�•�Swing�Vote�•�Old�Dogs�•�Sin�City�2. Tim DeLaughter: The�Assassination�of�a�High�School�President.Alexandre Desplat: Largo�Winch.Ramin Djawadi: Fly�Me�to�the�Moon�•�The�Tourist�•�Iron�Man.Pino Donaggio: Colpe�d’occhio.James Michael Dooley: Bachelor�Party�2�•�Little�Mermaid�III�•�Impy’s�Island�2.Patrick Doyle: Nim’s�Island�•�Igor.Ludek Drizhal: Life�Goes�On�•�The�Next�Race�•�The�Sno�Cone�Stand�Inc.�Clint Eastwood: Grace�Is�Gone.Randy Edelman: The�Mummy:�Tomb�of�the�Dragon�Emperor.Jonathan Edwards: The�Golden�Boys.Steve Edwards: Finding�Rin-Tin-Tin�•�The�Neighbor�•�The�Intervention�•�Sharks�in� Venice.Cliff Eidelman:�He’s�Just�Not�That�Into�You.

Danny Elfman: Wanted�•�The�Sixth�Ele-ment�•�Hellboy�2:�The�Golden�Army. Stephen Endelman: Redbelt.Paul Englishby: Miss�Pettigrew�Lives�for�a�Day.Tom Erba: Chinaman’s�Chance.Ilan Eshkeri: The�Virgin�Territories.Evan Evans: The�Mercy�Man�•�You’re�Nobody�‘Til�Somebody�Kills�You�•�The�Poker�Club�•�Jack�Rio.Nima Fakhara: Lost�Dream.Guy Farley: The�Flock�•�The�Christmas�Miracle�of�Jonathan�Toomey�•�Knife�Edge�•�Dot�Com�•�The�Broken�•�Dylan.George Fenton: Fool’s�Gold.Chad Fischer: The�Babysitters.Robert Folk: Kung�Pow:�Tongue�of�Fury�•�Magdalene�•�Vivaldi.Jason Frederick: Good�Chemistry�•�Bears.John Frizzell: Henry�Poole�Is�Here.Michael Giacchino: Speed�Racer • Star�Trek�XI.Vincent Gillioz: The�Appearance�of�Things�•�Portal.�Scott Glasgow: Toxic�•�The�Gene�Gene-ration�•�Bone�Dry�•�Lo�•�The�Bridge�to�Nowhere.Philip Glass: Les�animaux�amoreux.Erik Godal: The�Gift�•�Ready�Or�Not�•�Ir-reversi.Jonathan Goldsmith: Tenderness.Christopher Gordon: Mao’s�Last�Dancer�•�Daybreakers.Jeff Grace: Trigger�Man�•�I�Sell�the�Dead�•�Liberty�Kid.John Graham: Long�Flat�Balls�2.Harry Gregson-Williams: Jolene�•�The�Chronicles�of�Narnia:�Prince�Caspian�•�G-Force�•�Wolverine��•�The�Forbidden�Kingdom�(co-composer).Rupert Gregson-Williams: You�Don’t�Mess�With�the�Zohan�•�Made�of�Honor.Andrew Gross: Forfeit�•�National�Lampoon’s�Bag�Boy�•�Diamond�Dog�Caper.Larry Groupé: Love�Lies�Bleeding�•�The�Hungry�Woman�•�Straw�Dogs.Andrea Guerra: The�Accidental�Husband.Robert Gulya: Atom�Nine�Adventures.Steven Gutheinz: Rothenburg.Richard Hartley: Diamond�Dead.Paul Hartwig: Holiday�Beach�•�Tyrannosau-rus�Azteca.Richard Harvey: Eichmann�•�Les�Deux�Mondes.Paul Haslinger: Prom�Night�•�Make�It�Hap-pen�•�While�She�Was�Out.Paul Heard: Clubbed.Alex Heffes: My�Enemy’s�Enemy�•�State�of�Play.Reinhold Heil & Johnny Klimek: Black-out.Christian Henson: Zomerhitte.Eric Hester: The�Utopian�Society�•�Lost�Mission�•�Frail.Tom Hiel: A�Plumm�Summer.David Hirschfelder: Shake�Hands�With�the�Devil.Ben Holbrook: Kiss�the�Bride. Trevor Horn: Kids�in�America.

SCORING NEWS by MIKAEL CARLSSONmcarlsson@filmmusicweekly.com

ISSUE�49�•�FEBRUARY�5,�2008� 5weeklyFILM MUSIC

James Horner: The�Spiderwick�Chronicles�•�The�Boy�in�Striped�Pyjamas�•�Avatar.Richard Horowitz: Genghis�Khan�•�Kandisha�•�The�Whisperers.James Newton Howard: The�Happening�•�The�Dark�Knight�(co-composer).Terry Huud: Plaguers.Søren Hyldgaard: Red.Alberto Iglesias: The�Argentine�•�Guerrilla.Mark Isham: Pride�and�Glory�•�The�Express.Corey Allen Jackson:�Idiots�and�Angels.James Jandrisch: American�Venus.Adrian Johnston: Sparkle�•�Brideshead�Revisited.Bobby Johnston: American�Fork�•�Stuck�•�Hotel�California�•�Happiness�Runs.Evan Jolly:�Tonight�Is�Cancelled.Tim Jones: Cryptid.David Julyan: Eden�Lake.George Kallis: Antigravity.Tuomas Kantelinen: Quest�for�a�Heart�•�Arn:�The�Knight�Templar�•�Mongol.Yagmur Kaplan: The�Elder�Son�•�The�Lodge�•�Broken�Windows.Laura Karpman: Out�at�the�Wedding.Kenji Kawai: L�–�Change�the�World�•�Oro-chi�•�The�Sky�Crawlers.Rolfe Kent: Spring�Break�in�Bosnia�•�Sex�and�Death�101.Wojciech Kilar: Black�Sun.Mark Kilian: Before�the�Rains.David Kitay: Shanghai�Kiss�•�Blonde�Ambition.Harald Kloser: 10,000�BC.Abel Korzeniowski: Terms.Penka Kouneva: Midnight�Movie�•�The�Gold�and�the�Beautiful.Ivan Koutikov: Wanted�Undead�Or�Alive�•�Living�Hell.Aryavarta Kumar: The�Rapture�•�Greater�Threat.Nathan Larson: August�•�Choke.Jim Latham: Greetings�from�the�Shore�•�Swishbucklers�•�Parental�Guidance�Sug-gested.Craig Leon: Maestro.Geoff Levin: Triloquist�•�The�Rat�Thing�•�Agenda�•�The�Fallen.Michael A. Levine: Adrift�in�Manhattan.Krishna Levy: Le�nouveau�protocole.Christopher Libertino: Off�the�Grid�–�Life�on�the�Mesa�•�The�Forgotten�Kingdom.Gary Lionelli: Oswald’s�Ghost.Jason & Nolan Livesay: Bounty�•�Limbo�Lounge�•�Little�Iron�Men.Andrew Lockington: Step�•�Journey�3-D.Joseph LoDuca: Bar�Starz�•�My�Name�Is�Bruce�•�Boogeyman�2.Henning Lohner: Kleiner�Dodo.Helen Jane Long: Surveillance.Erik Lundborg: Absolute�Trust.Deborah Lurie: Spring�Breakdown.Vivek Maddala: They�Turned�Our�Desert�Into�Fire.Nuno Malo: Mr.�Hobb’s�House.Mark Mancina: Sheepish�•�Camille�•�With-out�a�Badge�•�Like�Dandelion�Dust.Aram Mandossian: The�Last�Resort.Harry Manfredini: Black�Friday�•�iMurders�

•�Impulse�•�Anna�Nicole�•�Dead�and�Gone.Clint Mansell: Definitely,�Maybe.David Mansfield: Then�She�Found�Me�•�The�Guitar.Dario Marianelli: Far�North�•�Hippie�Hippie�Shake�•�The�Soloist.Anthony Marinelli: Grizzly�Park.Gary Marlowe: Los�Pereyra�•�Das�echo�der�Schuld.Phil Marshall: Live.John McCarthy: The�Stone�Angel.Mark McKenzie: The�Redemption�of�Sarah�Cain.Joel McNeely: The�Tinkerbell�Movie.Nathaniel Mechaly: Taken.Matt Messina: The�Least�of�These.Guy Michelmore: Doctor�Strange�•�Bono,�Bob,�Brian�and�Me.Randy Miller: Last�Time�Forever�•�Shang-hai�Red�•�Second�Chance�Season.Robert Miller: The�Key�Man�•�Trumbo�•�On�the�Hook�•�Wherever�You�Are.Sheldon Mirowitz:�Renewal�•�Operation�Filmmaker.Richard G. Mitchell: Almost�Heaven.Charlie Mole: Fade�to�Black�•�I�Really�Hate�My�Job�•�St.�Trinian’s.John Morgan:�The�Opposite�Day�(co-composer).Paul Leonard-Morgan: Popcorn.Trevor Morris: Matching�Blue�•�Krews.Mark Mothersbaugh: Quid�Pro�Quo�•�Cloudy�with�a�Chance�of�Meatballs.Hélène Muddiman: Skin.Sean Murray: The�Lost�•�Clean�Break.Peter Nashel: Wedding�Daze.Javier Navarrete: His�Majesty�Minor�•�Mir-rors�•�Inkheart�•�Fireflies�in�the�Garden.Blake Neely: Elvis�and�Anabelle�•�The�Great�Buck�Howard�•�Surfer�Dude.Roger Neill: Take�•�Scar.David Newman: Welcome�Home�Roscoe�Jenkins.Joey Newman: Safe�Harbour.Randy Newman: Leatherheads�•�The�Frog�Princess.Thomas Newman: Nothing�Is�Private�•�Wall-E�•�Revolutionary�Road.David James Nielsen: Reclaiming�the�Blade.Marinho Nobre: Left�for�Dead.Adam Nordén: Everybody’s�Dancing�•�Wolf�•�De�Gales�hus.Julian Nott: Heavy�Petting.Paul Oakenfold: Victims.Dean Ogden: Oranges�•�Knuckle�Draggers�•�A�Perfect�Season�•�The�Sensei.Norman Orenstein: Diary�of�the�Dead.John Ottman: Valkyrie.John Paesano: Shamrock�Boy.Heitor Pereira: Suburban�Girl�•�The�Canyon�•�Running�the�Sahara�•�South�of�the�Border.Mark Petrie: The�Road�to�Empire�•�Lake�Dead�•�Mr.�Blue�Sky�•�Valley�of�Angels�•�Farmhouse.Leigh Phillips: War�Made�Easy�•�Still�Life.Martin Phipps: Grow�Your�Own.Nicholas Pike: It’s�Alive�•�Parasomnia.Nicola Piovani: Odette�Toulemonde.

Douglas Pipes: Trick�r’�Treat�•�City�of�Ember.Steve Porcaro: The�Wizard�of�Gore�•�Cougar�Club.John Powell: Horton�Hears�a�Who�•�Jumper.Michael Price: Sugarhouse�Lane�•�Agent�Crush�•�Wild�Girl.Trevor Rabin: Get�Smart.Didier Lean Rachou: How�to�Rob�a�Bank�•�An�American�in�China.Brian Ralston: Graduation�•�9/Tenths.Jasper Randall: Me�&�you,�Us,�Forever�•�The�Secrets�of�Jonathan�Sperry.Joe Renzetti: 39�•�Universal�Signs.Graeme Revell: Pineapple�Express�•�Days�of�Wrath�•�The�Ruins�•�The�Nightwatchman.Graham Reynolds: I’ll�Come�Running.Zacarías M. de la Riva:�The�Last�of�the�Just�•�The�Anarchist’s�Wife.Carmen Rizzo: The�Power�of�the�Game.Matt Robertson: The�Forest.Douglas Romayne: In�Zer0:�Fragile�Wings.Philippe Rombi: Bienvenue�chez�les�Ch’tis.Brett Rosenberg: The�Skeptic. William Ross: Our�Lady�of�Victory.Laura Rossi: The�Cottage.David Glen Russell: Contamination.Hitoshi Sakamoto: Romeo�x�Juliet.H. Scott Salinas: Strictly�Sexual�•�What�We�Did�on�Our�Holidays.Anton Sanko: Life�in�Flight.Gustavo Santaolalla: I�Come�With�the�Rain�•�On�the�Road.Brian Satterwhite: Cowboy�Smoke�•�Maidenhead.Mark Sayfritz: Sake�•�The�Shepherd.Brad Sayles: The�Bracelet�of�Bordeaux.Dominik Scherrer: Good�Morning�Heart-ache.David Schommer: War,�Inc.Misha Segal: Lost�at�War�•�Shabat�Shalom�Maradona.Marc Shaiman: Slammer.Theodore Shapiro: The�Mysteries�of�Pittsburgh�•�The�Girl�in�the�Park�•�Semi-Pro�•�Tropic�Thunder�•�The�Heartbreak�Kid�•�Nowhereland.George Shaw: Victim�•�Sailfish.Edward Shearmur: Passengers�•�Bill�•�College�Road�Trip�•�Righteous�Kill.Ryan Shore: Numb�•�Jack�Brooks�–�Mon-ster�Slayer�•�Shadows.Vince Sievers: The�Source.Carlo Siliotto: La�Misma�Luna�•�The�Ra-men�Girl.Alan Silvestri: G.I.�Joe.Emilie Simon: Survivre�avec�les�loups.Marcus Sjöwall: Dreamkiller.Cezary Skubiszewski: Death�Defying�Acts�•�Disgrace.Damion Smith: Stompin.Jason Solowsky: 110%:�When�Blood,�Sweat�and�Tears�Are�Not�Enough�•�L.A�Takedown�•�Unemployed�•�North�by�El�Norte.Maarten Spruijt: The�Seven�of�Daran�-�Battle�of�Pareo�Rock.Marc Streitenfeld: Body�of�Lies.

William T. Stromberg: TV�Virus�•�Army�of�the�Dead�•�The�Opposite�Day�(co-composer).Jina Sumedi: Sextet.Johan Söderqvist: Walk�the�Talk�•�Let�the�Right�One�In.Joby Talbot: Son�of�Rambow.Frédéric Talgorn: Asterix�at�the�Olympic�Games�•�Dragon�Hunters.Francois Tétaz: Rogue.Mark Thomas: Tales�of�the�Riverbank.Gregory Tripi: Secret�Society�(co-com-poser).tomandandy: The�Koi�Keeper.John van Tongeren: War�Games�2�-�The�Dead�Code.Pinar Toprak: Blue�World�•�Dark�Castle�•�Serbian�Scars�•�Say�It�In�Russian�•�Ocean�of�Pearls.Jeff Toyne: Within�•�Late�in�the�Game.Michael Tremante: If�I�Didn’t�Care.Gregory Tripi & Kyle Batter: Dark�Storm�•�Termination�Point.Ernest Troost: Crashing.Brian Tyler: The�Heaven�Project.Shigeru Umebayashi: A�Simple�Love�Story.Cris Velasco: Prep�School.Reinhardt Wagner: L’Heure�zéro.Michael Wandmacher: The�Killing�Floor�•�Train�•�Never�Back�Down.Stephen Warbeck: Flawless�•�Miguel�and�William�•�The�Box�Collector.Matthias Weber: Silent�Rhythm. Craig Wedren: Little�Big�Men.Richard Wells: The�Mutant�Chronicles.Cody Westheimer: Benny�Bliss�and�the�Disciples�of�Greatness�•�Hysteria.Alan Williams: For�the�Love�of�a�Dog�•�Act�Your�Age�•�Snow�Princess�•�He�Love�Her,�She�Loves�Him�Not�•�The�Velveteen�Rabbit.David Williams: The�Conjuring.John Williams: Indiana�Jones�and�the�Kingdom�of�the�Crystal�Skull�•�Lincoln.Patrick Williams: Mikey�and�Dolores.Tim Williams: Afterthought�•�The�Passage�•�Starcrossed.Austin Wintory: Captain�Abu�Raed�•�Mr.�Sadman�•�Grace.Debbie Wiseman: Amusement�•�The�Hide.Chris Wood: Zombies�Ate�My�Prom�Date.Lyle Workman: Forgetting�Sarah�Marshall.Alex Wurman: Five�Dollars�a�Day�•�The�Promotion.Gabriel Yared: Manolete�•�The�No.�1�Ladies�Detective�Agency�•�Adam�Resur-rected.Christopher Young: Sleepwalking�•�A�Tale�of�Two�Sisters.Geoff Zanelli: Delgo�•�Outlander�•�Ghost�Town.Marcelo Zarvos: What�Just�Happened?Aaron Zigman: Lake�City�•�Meet�the�Browns�•�Step�Up�2�the�Streets�•�Flash�of�Genius�•�Blue�Powder.��Hans Zimmer: Frost/Nixon�•�Casi�Divas�•�Kung�Fu�Panda�•�The�Dark�Knight�(co-composer).Atli Örvarsson: Vantage�Point�•�Babylon�A.D.

Film Music Weekly’s “The Scoreboard” only lists scoring assignments that have been confirmed to us by official sources. The list is limited to feature film scoring assignments. New additions are highlighted in red print.

6� ISSUE�49�•�FEBRUARY�5,�2008 weeklyFILM MUSIC

BUY THE CD’S HERE: •www.mmmrecordings.com

Title: Monstrous Movie Music Composer: Various Label: Monstrous Movie MusicSuggested Retail Price: $19.95 Grade: B+

Who can forget the shrieking, lurching orchestras that accompanied every

behemoth, killer robot, homicidal alien, cave-dwelling mutant and super-powered maniac that flooded double bills through the 1950’s and 60’s? Certainly not producer David Schecter, whose label Monstrous Movie Music has done a better job than an atomic bomb blast of re-awakening the musical likes of Them, The Beast From 20,000 Fathoms, The Creature From The Black Lagoon, This Island Earth and It Came From Outer Space. Their wonderfully bombastic scores have previously been re-conducted by Masatoshi Mitsumoto, who did an amazing job of capturing every lumbering, ooo-wee-ooo nu-ance that have burned these larger-than-terror melodies into our youthful memories.

Now with MMM’s new releases of The Blob and The Intruder, Schecter takes a giant stride backwards – releasing the original source mate-rial instead of reperforming it. And the result is every bit as much fun, even if the scores’ sonic tentacles have an understandable age to them. Yet perhaps the most famous musical thing about 1958’s The Blob is its jazzy title song, penned by none other than Burt Bacharach and Mack David, whose career beginnings had them dealing with devilish gelatin as opposed to the latter likes of Dionne Warwick and Dusty Springfield. It’s an infectiously fun ditty for mouth pops, handclaps and chorus, a song that might be the coolest pop hit next to Bobby Pickett’s “Monster Mash.”

However, the Bacharach-David tune is almost misleadingly fun when it’s followed by Ralph Carmichael’s actual Blob score. Effective-ly done with a budgetarily restrained orchestra, Carmichael gets across an appropriately grim

vibe here – one that’s unexpectedly subdued when compared to other frenetic monster scores of the period. And even though most of the mu-sic slithers along effectively with ominous brass and strings, Carmichael’s Blob score does offer some nice romantic detours. It’s the kind of lush music best experienced in a hot rod’s back seat before getting devoured.

But what really steals the show on the Blob CD is the inclusion of cues from the Valentino Production Music Library. Written by such composers as Mario Nascimbene (One Million Years B.C.) and A.F. Lavagnino (Gorgo), these often goofily eerie numbers were meant to provide musical horror by the pound, letting the low-budget likes of The Brain That Wouldn’t Die and Daughter Of Horror “compose” their scores out of stock music. So chances are you heard these library selections a zillion times on the Creature Feature, which accounts for the nostalgic thrills of “Aggression,” “Celestial Wonder” and “Spell of the Unknown.” The titles literally had to say it all for perspective buyers. And while many these tracks are undeniably goofy, cues like the harpsichord-driven “Birds in Flight” and the Batman-esque rock jazz of “Mob Scene” work nicely in their own right. They have just the right stuff to entice music-hungry hacks that have about a hundred clams to buy a score with.

Though Roger Corman’s The Intruder can’t exactly be called a horror film, its story of a racist rabble-rouser (played brilliantly by Wil-liam Shatner) was a hell of a lot more frighten-ing than most of the producer-director’s genre efforts. This unique 1961 offering also gave the equally prolific composer Herman Stein a welcome break to do something outside of his

stalwart work on such exploitationers as The Mole People, The Creature Walks Among Us, Tarantula and Love Slaves Of The Amazon. And Stein’s talent for fearsome melody served The Intruder well, beginning with its driving, anx-ious theme that tells of a very bad man arriving in the small-town south. It’s a superb piece of relentless menace, worthy of Herrmann’s work for Hitchcock. And Stein continues to build his tension, but with a real sense of humanity to it – no more so than in music that has the kind of stirring, religious nobility that wouldn’t be out of place in The Ten Commandments. Topping his dramatic score off are some cool jazz pieces, whose session players include no less than Benny Carter and Buddy Collette.

By the time that melodic nobility wins over hatred, The Intruder’s score proves itself to be a real highlight in Stein’s cannon. And it’s a tribute to MMM that they’ve opened their ho-rizon beyond Saturday matinees to release this powerful score (as well as including such addi-tion Steiner treasures as his wonderfully pokey score to the industrial film Career For Two, and a newly performed piano concerto). But if anything connects the albums of The Blob and The Intruder, it’s a sense of true geek love that MMM infuses its releases with, from their sur-prisingly good production values to Schecter’s exhaustively hilarious liner notes for them. I look forward to MMM’s continuing countdown of my Creature Feature favorites, even as they look beyond it. n

CD REVIEW by DANIEL SCHWEIGERdschweiger@filmmusicweekly.com

A Creepy-Crawly Label Gets Down To De-Thawing The Classic Thrill Tracks

ISSUE�49�•�FEBRUARY�5,�2008� 7weeklyFILM MUSIC

8� ISSUE�49�•�FEBRUARY�5,�2008 weeklyFILM MUSIC

THE CHART DOCTOR by RON HESSrhess@filmmusicweekly.com

Taking A Button And Sewing A Vest On It

I ’m sure that reader Douglas Romayne spoke for many in our fraternity when he

wrote me inquiring about orchestrational strategies (without sampler skullduggery) that will coax the thrills of a big orchestra out of a more modest one. In his letter, he agreed that “a good orchestrator can make 40 players sound like 60, while a bad orchestra-tor can make 60 sound like 40.” Very true, but not for the obvious reasons you might think. “Sound like” really means “to be per-ceived as” and that’s where your opening lies.

First, though, we must come to grips with our definition of “big” and it’s not completely synonymous with “loud.” A huge component of “big” is “satisfying,” and it means that your audience listens with ears, not VU meters. Those ears have hundreds of years of programming in them, and can be fulfilled by some very common-sense strate-gies, two of the most paramount being architecture and variety.

Perhaps the most direct real-sensation aspect of bigness is good, complete harmonic/pitch/overtone architecture. The law of gravity rules us all, even as composers. Consequently, all good structures need good foundations. Bigness is not just having a loud bottom, although it can help. The real magic comes from a complete bottom, which means not just a single bass line, no matter how massively doubled, but reinforcement of its overtones as well. Without wanting to em-bark on an all-day sucker here, the overtone series (with its larger intervals at the bottom and progressively shrinking ones as you go up) is a good model to emulate in building powerful, mud-free, satisfying structures (see example 1).

Additionally, to maximize the power of your voicings, generally try to eliminate significant “holes” in your vertical struc-tures, unless you are using them for the sake of variety. Constantly doubling up your instruments, contrary to popular belief (and especially if it results in other bases left

uncovered), actually can shrink the impres-sion you create. Put on your engineer’s and/or producer’s ears and listen carefully to your favorite recordings and notice the complete-ness of the sonic structure.

A second component of “satisfying” is also one of the most basic principles taught in any good arranging course: variety (usually refer-ring to motifs and ideas). As orchestrators, we adopt the same concept, only we think instrumental color, we think dynamics, and we watch our textures and dramatic effects over time.

An obvious start is the use of a greater palette of instruments. For instance, trading in some strings for percussion can be a great investment. Brass obviously can lend more “heft” than some woodwinds. Harp, with all its glisses, versus piano. However, the real goldmine (often untapped) lies in getting maximum variety out of each instrument you already have, so dig deep: different brass mutes, bowing techniques, woodwind trills, articulations, percussion effects, trombone glissandi, and symbiotic instrumental dou-blings, to name a few. The richer the palette you can bring to the ears of your audience, the more you interest and satisfy and the stronger your impression of bigness.

With dynamics, perceived largeness isn’t really an absolute, but is more naturally a matter of contrast. A master of this principle was Gustav Mahler, whose “big” symphonic

moments are so overwhelming simply be-cause they are just moments, interspersed with incredibly delicate interludes. Taken by themselves, they would just fatigue the ear (and burn out the brass section).

Thirdly, you can find satisfaction through variety in the dramatic effects you produce over time. Of course, in underscoring, most of that discretion is taken away from you, but how you respond isn’t. Not all action needs testosterone and not all tender moments need vanilla pudding. By mixing up your use of playing with and against the scene, you can

satisfy and stimulate in ways not even consciously perceived by the listener.

I am a charter member of CELA (Composers’ Ensemble, Los Angeles), a unique chamber orchestra com-posed of 12 players, composer-conduc-tors all, who cover the principal in-struments of the standard orchestra: 4 woodwinds, 3 brass, and 5 strings, no percussion. Spawned 11 years ago as a lab group for conducting prac-tice, we quickly discovered the compo-sitional possibilities open to us and we consequently produce and perform all our own music. Being limited in

forces (one on the podium leaves only 11 in the ensemble) but not in colors forced us to innovate and find ways to indulge our thirst for the grandest sound possible.

While discussing all the ways that good orchestration gets that “big sound” was beyond the scope of this article, the above fundamental strategies should start you down your own path of discovery. In future columns, we will take a closer look at indi-vidual aspects of this huge topic.

n Ron Hess works as a studio conductor, orchestrator, copyist and score supervisor in Los Angeles, where he’s well-known for his quick ability to ferret out the most hid-den performance problems and spot score glitches rapidly. He holds a Master’s Degree from the New England Con-servatory, and is considered one of the top Finale experts in Los Angeles. Email your questions to Ron at rhess@filmmusicweekly.com

ISSUE�49�•�FEBRUARY�5,�2008� 9weeklyFILM MUSIC

10� ISSUE�49�•�FEBRUARY�5,�2008 weeklyFILM MUSIC

MUSIC TECHNOLOGY by PETER LAWRENCE ALEXANDERpalexander@filmmusicweekly.com

Is It 64bit Yet?

One of the hidden gems of NAMM was the quiet announcement from Vienna that in

a few weeks, it will release a Mac/PC version of Vienna Ensemble (version 3) that sends over LAN (local area network) cables both MIDI and audio data between the computer(s) running the Vienna Instrument and the host computer. This means that other than the main host computer which has both an audio card and MIDI inter-face, that any computer running Vienna Instru-ments using Vienna Ensemble 3 will not need either an audio card or hardware MIDI interface.

This is the promise that captured many who sequenced on the PC (including myself) who used the Russian-made FX-Teleport. It’s a great concept that eliminated black spaghetti (cables!) from the studio.

For Mac users, the long-term promise was that FX-Teleport would be ported over to the Mac, but it’s yet to happen. See http://fx-max.com/bb/viewtopic.php?t=1941.

The market failure of FX-Teleport is really a tragedy for the community. That only one computer would need an audio card and MIDI in-terface represents in a typical composer’s studio, savings of literally thousands of dollars.

What we will face now is the Vienna En-semble program (listing at 95 Euros according to the Vienna website) working in both the Mac and PC (good news for sure) and shortly, a similar multiplatform entry from EastWest supporting PLAY.

Many composers run programs from both com-panies.

The technical question we’ll all have to answer is whether or not the host computer and sequencing/digital audio software, on both platforms, can handle two different, but similar, audio/MIDI/LAN (AML) programs. In theory, it should work.

But, who knows?

Then, we will have to confront how we’ll deal with non-EW/VI programs that lack their own virtual mixing board approach.

Here, there may be some hope from TASCAM when GigaStudio 4 is released. With GigaStudio 4, you’ll have a feature that allows for Virtual Instruments to be run in it.

Kontakt and Vienna Instruments should be able to run in it, according to Jeff Laity, Market-

ing Manager at TASCAM. In a response on the VI forum Mr. Laity said that GS 4 would ship 64bit ready and handle up to 128GB of RAM. According to Mr. Laity, TASCAM has already run very successful tests with the Vienna Instru-ments, but as yet had no time to test Kontakt.

For those with Giga machines, the GS4 up-date looks very appealing for this very practical application.

But, there are some glitches along the way.

While GS4 may be 64bit, and the Vienna Ensemble may be 64bit, at this point, neither VI, EW PLAY, nor Native Instrument products are 64bit. They’re still 32bit.

VI and EW are scheduled to be 64bit shortly. Hidden away in a small quote was the announce-ment that VisionDAW had already created a workstation capable of running the entire QLSO library on one system. But Native Instruments announced it would not be 64bit until late 2008.

So should you jump to a 64bit system just yet?

For me, since I’m running the Vienna Instru-ments, yes, it makes sense, but I’m willing to wait so that I’m not paying to beta test.

Happily, the Vienna folks, unlike many other software developers, not only reported a recent specs test but also posted the parts list! This was followed up with two posts from Chris Marin, the “Scotty” of the Vienna Symphonic Library, with a cogent explanation of which parts he selected and why.

According to Herb Tucmandl, VSL president, his new dream machine sports 32GB of RAM and loaded just under ½ gigabyte of samples.

Here’s the list with street pricing where I could find it.

Supermicro Server-1U Rack 6015A-NT - $1100 (the SuperServer 6015A-NTV/B features the Super X7DBGU motherboard, Intel 5000X chipset, and supports up to two Intel Xeon pro-cessors, up to 32GB PC2-4200 or PC2-5300 DDR SDRAM, and up to four hot-swap SATA hard drives. It has a 560W high-efficiency power sup-ply and dual-port Gigabit Ethernet controller).

Intel Xeon double processor 5160 - 3GHZ - $1100 ECC RAM BC2 5300 677 MHZ CL5 - $3200 (you

can buy 8GB RAM kits)

Fortunately, Mr. Marin published his parts list rationale.

Several considerations had influence on the decision for the SS6015 - chipset, processor, memory and the 16x PCIe slot.

Whereas the 6015A holds only 32 GB RAM but has the 16x PCIe for a dual screen setup with a radeon 1950, the 6015B would take actually 64 GB RAM - for several reasons we also added a dual controller FW400 / FW800 PCI-X expansion card.

At the date of purchase the XEON 5160 (3 GHz) and the XEON 5150 (2.66 GHz) had a reasonable price so we decided to try both (2 pro-cessors per machine, 2 cores per processor) - there is not too much noticeable difference, neither with the Vienna Ensemble nor with other CPU hungry applications.

The motherboard also allows PCIe and PCI-X riser cards and the PCI bus can be set to any value between 33 and 133 MHz so allowing tests with several audio devices (currently a *legacy* PCI Hammerfall multiface) though a VE-network solution wouldn’t even need an audio device, nor would it in fact need a dual screen graphic card.

As posted earlier these are multi-purpose machines and if you are looking for a VE slave any Intel 5000 series motherboard would be good enough, actually a modern Core™ 2 Duo would do the job if there were any motherboards out there holding more than 8 GB RAM.

The quad core 2.66 version with 16 GB RAM is almost identical to the older Mac Pro - another setup with Boot Camp and Vista 64 performs exactly as well as the SuperMicro running XP64 ... it is just MUCH more silent ;-)

As Herb pointed out, it seems there is abso-lutely no difference with VE-network between Mac Pro 10.4 / 10.5 /Boot Camp + Vista 64 and a comparable other Intel 5000 board running XP64 or Vista 64, but a G5 PPC performs significantly less well and interestingly also puts additional load on a connected host.

The sequencer machine mentioned above is a rather *old* Pentium V (IIRC P4C-800 board) 3 GHz, but it looks like it would allow even some more tracks to be inserted before the CPU overloads. Another setup with a Core™ 2 Duo MacBook Pro as host and any Intel-based VE slave showed similar results.

Ahhh - the hard disks .... my (Continued pg 11)

ISSUE�49�•�FEBRUARY�5,�2008� 11weeklyFILM MUSIC

(Continued pg 11)

MUSIC TECHNOLOGY*darlings* the Western Digital Raptor 10k rpm are used as system drive [$250 per unit] and the Seagate 1 TB SATA II for data [$350 per unit].

How to configure the drives is not completely tested yet - the SATA con-troller allows many modes. Two raptors mirrored for system and 2 Seagates stripped for samples looks like a usable config, but in theory the single drive AHCI mode should be faster ... it is just a driver issue for XP and Vista, the drivers seem to be not really optimized currently.

Selecting RAM is somehow a lottery beyond 8 GB and I would recom-mend to use only sticks certified by the respective manufacturer.

The used KINGSTON 2GB DDR2 PC2-5300 667MHz CL5 ECCx4 fully buffered single rank are slightly below the specification (and significantly cheaper) but the distributor guaranteed they work flawless up to 16 GB per machine - in fact it seems they also work up to 32 GB per machine.

In working up the street prices, this system comes to just under $7,000US.

Say what? n Peter Alexander is preparing to score The Good Samaritan. His most recent books are How Ravel Orchestrated: Mother Goose Suite, and Professional Orchestration. He has also written White Papers on music education.

Is It 64bit Yet? (continued from pg 10)

I would highly recommend this book to any student or working professional wishing

to learn or expand their knowledge of orchestration. If you intend to work

professionally the skills imparted by the studies presented here will be of enormous

benefit and will give you a professional advantage for your entire career.

Garry SchymanBioShock

Professional Orchestration 2A: Orchestrating the Melody Within the String Section is a hit.

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A great publication! You perfectly met the needs of so many musicians - it's an incredibly valuable source of knowledge! I like also very much its clear structure and the way you explain complex things. A "must" not only for students, but for every musician dealing with samples and "orchestral sound".

Peter SiedlaczekAdvanced OrchestraClassical ChoirsString Essentials 2

The new book is amazing! It builds on the first book by adding more explanations, MIDI programming advice and film scoring concerns. I can't imagine a more exhaustive study or more organized collection of string writing. You can pre-charge my card for books 2B through 8.

Jeff Laity

Marketing Manager TASCAM

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