weeklyFILM MUSIC

FILM MUSIC RADIO: Daniel Schweiger interviews composer Marco Beltrami SCORING NEWS: “Black Water Transit” (Anne Dudley), “In My Sleep” (Conrad Pope) and more

CD REVIEW: Daniel Schweiger reviews “The Bucket List”

THE CHART DOCTOR: Music Prep Strategies, Part 3: “Not-So-Common Courtesy” by Ron Hess

MUSIC TECHNOLOGY: “Logic 8, K2 Players and Beyond” by Peter Alexander

ISSUE 50 • FEBRUARY 12, 2008 • A Global Media Online Publication • www.fi lmmusicweekly.com

(continued pg.3)

CPCC Won’t Appeal Digital Recorder Decision

n Performing rights organiza-tion, ASCAP (American Society of Composers, Authors and Pub-lishers) has reported record 2007 revenues of $863 million and roy-alty payments of $741 million, as well as an all-time low operating expense ratio of 11.9 percent.The organization reports that its

membership has grown 14.5 per-cent over last year to more than 315,000 music creators.

“In 2007 ASCAP clearly per-formed for our member-owners,” said John LoFrumento, ASCAP CEO. “Not only did we put more money in the pockets of hard working songwriters, composers,

lyricists and music publishers, but we also intensified our pro-fessional development programs and public advocacy efforts on their behalf. In 2008 and beyond, we will continue to assert our leadership as the pre-eminent performing rights organization.”

ASCAP revenues for 2007

exceeded 2006 by $77 million, a 10 percent growth rate. Domes-tic revenues totaled nearly $598 million, up $39 million, with sig-nificant growth in radio, cable and General Licensing. Interna-tional revenues exceeded $265 million, up $38 million from the prior year.

ASCAP Reports Record 2007 Revenue of $863 Million

VirSyn Releases First VST3 Plug-in

n The Canadian Private Copying Collective (CPCC), the organiza-tion that proposed a private copy-ing levy on digital audio recorders such as iPods, confirmed that it will not seek leave to appeal the recent Federal Court of Appeal (FCA) decision to the Supreme Court of Canada. The January decision held that the Copyright Board has no authority under the Copyright Act to certify a levy on digital audio recorders.

While the CPCC strongly be-lieves that rights holders in re-corded music should receive

remuneration for private copy-ing, given the FCA’s ruling stating

that it had settled the legal ques-tion in 2005, combined with the Supreme Court’s refusal to hear an appeal of the 2005 decision, the CPCC has decided not to file an application for leave to appeal to the Supreme Court.

“This is a great loss for rights holders,” stated Annie Morin, Chair of the CPCC. “No one

disputes that a large percent-age of Canadians make copies of recorded music onto their

digital audio recorders. The private copying levy is the only compensation available to rights holders for the hundreds of (continued pg.3)

n Leading German software syn-thesizer and virtual effect manu-facturer VirSyn has announced the worldwide first update for VST3 compat-ibility for a com-mercially avail-able third party plug-in. With the update to version 1.1, Matrix Vo-coder is now avail-able as a native VST3 version for Mac OS X 10.4 and Windows XP through the VirSyn website.

Harry Gohs, VirSyn’s founder and lead developer commented on the release: “Developing the

update for VST3 was problem-free, and it was a very easy tran-sition. We’re looking forward to releasing updates to other VirSyn

products for VST3, as it offers us new features that will be very useful for our products like m u l t i - c h a n n e l processing for sur-round. Another as-

pect of VST3 is that it’s ready for the future, meaning that it ap-pears to be very extendable and easily updatable. That’s very im-portant to us,” Gohs continues.

(continued pg.3)

2� ISSUE�50�•�FEBRUARY�12,�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.

. LISTEN NOW

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ISSUE�50�•�FEBRUARY�12,�2008� 3weeklyFILM MUSIC

INDUSTRY NEWSASCAP Reports Record 2007 Revenue of $863 Million (continued. from pg 1)

Royalty distributions to ASCAP’s members grew in 2007 by $61 mil-lion, a 9 percent increase over the prior year. Both U.S. and foreign distributions rose substantially, with domestic royalties up more than $28 million and international royalties up nearly $33 million.

While substantially growing both revenues and royalties, ASCAP reported its lowest-ever operating expense ratio of 11.9 percent.

“Our stellar financial performance in 2007 underscores the success of ASCAP’s leadership strategy, which combines extensive revenue and royalty building initiatives with aggressive cost containment efforts,” said LoFrumento. “These strategies are underpinned by our deploy-ment of innovative technologies and our deep commitment to providing our members with the new tools to succeed in this ever-changing music environment.”

For more information, visit http://www.ascap.com

CPCC Won’t Appeal Digital Recorder Decision (continued. from pg 1)

millions of tracks that are copied without authorization onto digital audio recorders each year by Canadians.”

The CPCC is the non-profit organization charged with collect-ing and distributing private copying royalties. Established in 1999, the CPCC is a collective of collectives that represent songwriters, composers, music publishers, recording artists, musicians and record companies.

VirSyn Releases First VST3 Plug-in (continued. from pg 1)

Steinberg’s Marketing Director Frank Simmerlein comments: “We’re very pleased that VirSyn have started updating their excel-lent plug-ins to take advantage of the new capabilities of VST3. This marks the beginning of an exciting new era for the audio industry with VST-3 powered effects, instruments and host applications,” Sim-merlein continues.

VirSyn’s Matrix Vocoder 1.1 utilizes the new native sidechaining ability of VST3 to improve handling and routing when used with all of Steinberg’s latest generation of VST3-ready Cubase and Nuendo production environments.

Released in January 2008, VST3 is a next-generation audio in-terface standard that offers third party plug-in and host application manufacturers new capabilities and tools for developing virtual in-struments, effects and DAWs. For more information about VST3, please visit Steinberg’s website.

Job: 0708_A374_A,B_Film MusicPublication: Film Music Magazine

Size: 3.74” x 9.84”Color(s): b/w

Material Type: pdfLine Screen: NA

Delivery: email steve@gmdgroup.comIssue Date: (A) 01.01.08, (B) 01.22.08

Closing Date: 12.07.08Proof: revised finalDate: 11.20.07

Designer: al

2008 NYU/ASCAPFoundation Film Scoring Workshopin memory of Buddy Baker

Exclusive East Coast workshop:

May 16-23, 2008

Participant fee: $1,150 (auditors, $350)

Limited space. Apply early.

Housing available.

Application deadline:

April 14 (auditors, May 5)

Also, Music & the Moving Image

Conference: May 30-June 1, 2008

Visit www.steinhardt.nyu.edu/film2008

or call 212 998 5424.

D E PA R T M E N T O F M U S I C A N D P E R F O R M I N G A R TS P R O F E SS I O N S

Lawrence Ferrara, Director

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4� ISSUE�50�•�FEBRUARY�12,�2008 weeklyFILM MUSIC

THIS WEEK’S MAJOR SCORING ASSIGNMENTS

Anne�Dudley: Black Water Transit

Anne�Dudley�and�director�Tony�Kaye�continue�their�decade-long�working�relationship�in�Black Water Transit,�an�action�thriller�based�on�a�Carsten�Stroud�

novel.�Starring�Aisha�Tyler,�Karl�Urbam,�Brittany�Snow,�Laurence�Fishburne,�Stephen�Dorff�and�Beverly�D’Angelo,�the�film�is�a�modern�mafia�story�containing�such�dark�elements�as�smuggling�of�illegal�firearms�and�homicides.�UK’s�Capitol�Films�produce�for�release�later�this�year.�Anne�Dudley�worked�for�Tony�Kaye�on�his�1998�breakthrough,�Ameri-can History X,�and�also�scored�his�2006�documentary�Lake of Fire.�

David�Hirschfelder: The Children of Huang Shi

Australian�composer�David�Hirschfelder�(Elizabeth,�Sliding Doors,�Shine)�is�working�with�veteran�director�Roger�Spottiswoode�on�his�latest�film,�The Child-

ren of Huang Shi.�It�takes�place�in�China�during�the�Japanese�occupation�in�1937,�telling�the�story�about�a�young�journalist�and�a�brave�nurse�who�save�a�group�of�orphaned�children.�Jonathan�Rhys�Mey-ers,�Radha�Mitchell,�Yun-Fat�Chow�and�Michelle�Yeoh�star�in�the�drama,�which�is�produced�by�Rouge�Entertainment�and�scheduled�to�be�released�by�Sony�Pictures�Classics�on�April�3.�Hirschfelder�recently�scored�Spottiswoode’s�film�adaptation�of�the�Romeo�Dallaire�autobio-graphy�Shake Hands with the Devil.

Conrad�Pope: In My Sleep

In My Sleep,�a�horror�thriller�written�and�di-rected�by�Allen�Wolf,�gets�an�original�score�composed�by�Conrad�Pope.�Otherwise�occupied�as�John�Williams’�principal�

orchestrator�currently�working�on�Indiana Jones and The Kingdom of the

Crystal Skull,�Pope’s�other�scores�include�the�acclaimed�Pavilion of Women.�He�is�one�of�the�busiest�orchestrators/conduc-tors�in�Hollywood�and�works�extensively�with�Mark�Isham�and�also�worked�on�last�year’s�The Golden Compass�for�Alex-andre�Desplat.�In My Sleep�stars�Lacey�Chabert,�Beth�Grant,�Philip�Winchester�and�Tim�Draxl,�and�begins�with�the�main�character�waking�up�in�the�middle�of�a�cemetery,�barely�dressed.�He�has�no�idea�how�he�got�there,�but�this�is�not�the�first�time�this�has�happened�-�the�guy�suffers�from�parasomnia,�a�rare�form�of�a�sleep�disorder.�Conrad�Pope�recorded�his�orchestral�score�for�the�film�in�Bulgaria.

Eric�Allaman: Witless Protection

Witless Protection,�the�upcoming�action�comedy�starring�Eric�Robert,�Ivana�Milice-vic,�Peter�Stormare,�Jenny�McCarthy�and�Joe�Mantegna,�gets�an�original�score�by�

Eric�Allaman.�He�has�been�in�the�film�music�business�for�two�decades,�with�credits�ranging�from�cult�hit�Elvira’s Haunted Hills�to�drama�comedy�Latter Days�and�TV�series�Club Mario.�Witless Protection,�which�opens�on�February�22�distributed�by�Lionsgate,�is�about�a�small-town�sheriff�who�ventures�out�to�rescue�a�woman�he�believes�has�been�kidnapped.�Charles�Robert�Carner,�who�has�done�TV�movies�such�as�Vanishing Point�and�Red Water,�directs.

Andreas�Alfredsson�/�Christian�Sandquist: PossessionIn�a�rare�case�of�a�non-U.S.�film�team�being�kept�together�through�the�transition�from�independent�European�filmmaking�to�major�Hollywood�studio�work,�Swedish�composer�team�Andreas�Alfredsson�and�Christian�Sandquist�is�responsible�for�the�original�score�in�Possession,�Joel�Bergvall�and�Simon�Sandquist’s�first�American�feature.�The�swedes�made�the�stylish�thriller�The Invisible�in�2002,�which�was�remade�by�Hollywood�Pictures�last�year�and�opened�the�door�to�Hollywood.�Paradoxically,�Possession�is�in�its�turn�also�a�remake,�of�South�Korean�2002�thriller�Addicted.�Composers�Alfredsson/Sandquist,�who�wrote�the�score�for�the�original�Swedish�The Invisible,�were�brought�to�the�U.S.�to�score�Possession�-�a�case�similar�to�the�better�known�scenario�where�helmer�David�Yates�insisted�on,�and�convinced�

Warner�Bros.,�to�continue�his�working�relationship�with�Nicholas�Hooper�on�Har-ry Potter and the Order of the Phoenix.�Alfredsson�and�Sandquist�teamed�up�with�music�editor�Alice�Wood�and�fellow�Swedish�scoring�mixer�Fredrik�Sarhagen�working�on�the�score.�Possession�will�be�released�by�Yari�Film�Group�on�February�29�and�is�a�production�of�Vertigo�Enter-tainment�and�Spitfire�Pictures.�It�stars�Sarah�Michelle�Gellar�and�Lee�Pace.

THE SCOREBOARD Panu Aaltio: The�Home�of�Dark�Butterflies.Tree Adams: Emilio�•�Farewell�Bender.Eric Allaman: Witless�Protection�•�Race.John Altman: The�Master�Builder�•�Shoot�on�Sight.Marco D’Ambrosio: Say�Hello�to�Stan�Talmadge.David Arnold: How�to�Loose�Friends�and�Alien-ate�People�•�Quantum�of�Solace.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�•�Salo-maybe?�•�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�Forbidden�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�•�Missionary�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-composer)�•�The�Imaginarium�of�Doctor�Parnassus�(co-composer). Mychael Danna: Lakeview�Terrace�(co-com-poser)�•�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�Element�•�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�Generation�•�Bone�Dry�•�Lo�•�The�Bridge�to�Nowhere.Philip Glass: Les�animaux�amoreux.Erik Godal: The�Gift�•�Ready�Or�Not�•�Irreversi.Jonathan Goldsmith: Tenderness.Christopher Gordon: Mao’s�Last�Dancer�•�Daybreakers.

SCORING NEWS by MIKAEL CARLSSONmcarlsson@filmmusicweekly.com

ISSUE�50�•�FEBRUARY�12,�2008� 5weeklyFILM MUSIC

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�Hun-gry�Woman�•�Straw�Dogs.Andrea Guerra: The�Accidental�Husband.Robert Gulya: Atom�Nine�Adventures.Steven Gutheinz: Rothenburg.Richard Hartley: Diamond�Dead.Paul Hartwig: Holiday�Beach�•�Tyrannosaurus�Azteca.Richard Harvey: Eichmann�•�Les�Deux�Mondes.Paul Haslinger: Prom�Night�•�Make�It�Happen�•�While�She�Was�Out.Paul Heard: Clubbed.Alex Heffes: My�Enemy’s�Enemy�•�State�of�Play.Reinhold Heil & Johnny Klimek: Blackout.Christian Henson: Zomerhitte.Eric Hester: The�Utopian�Society�•�Lost�Mis-Lost�Mis-sion�•�Frail.Tom Hiel: A�Plumm�Summer.David Hirschfelder: Shake�Hands�With�the�Devil.Ben Holbrook: Kiss�the�Bride. Trevor Horn: Kids�in�America.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)�•�Defiance�•�Confessions�of�a�Shopaholic.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�•�Orochi�•�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�Suggested.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�•�Without�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�•�Shanghai�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-com-poser).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�•�Mirrors�•�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.Conrad Pope: In�My�Sleep.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�•�Carmo.Carmen Rizzo: The�Power�of�the�Game.David Robbins: War,�Inc.�•�The�Dot�Man.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�•�Maid-enhead.Mark Sayfritz: Sake�•�The�Shepherd.Brad Sayles: The�Bracelet�of�Bordeaux.Dominik Scherrer: Good�Morning�Heartache.David Schommer: War,�Inc.Misha Segal: Lost�at�War�•�Shabat�Shalom�Maradona.Marc Shaiman: Slammer.Theodore Shapiro: The�Mysteries�of�Pitts-burgh�•�The�Girl�in�the�Park�•�Semi-Pro�•�Tropic�Thunder�•�The�Heartbreak�Kid�•�Nowhereland.George Shaw: Victim�•�Sailfish.Edward Shearmur: Passengers�•�Bill�•�Col-lege�Road�Trip�•�Righteous�Kill.Ryan Shore: Numb�•�Jack�Brooks�–�Monster�Slayer�•�Shadows.Vince Sievers: The�Source.Carlo Siliotto: La�Misma�Luna�•�The�Ramen�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-composer).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�Wil-liam�•�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�King-dom�of�the�Crystal�Skull�•�Lincoln.Patrick Williams: Mikey�and�Dolores.Tim Williams: Afterthought�•�The�Passage�•�Starcrossed.Austin Wintory: Captain�Abu�Raed�•�Mr.�Sad-man�•�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�Resurrected.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�50�•�FEBRUARY�12,�2008 weeklyFILM MUSIC

NEW TECHNOLOGY | NEW HARDWARE | NEW SOFTWARE | NEW BUSINESS SK ILLS | NEW BUSINESS MODELS

SATURDAY, FEBRUARY 16Breaking into Film Composing in the Changing Face of HollywoodInstructor: Film & TV Music Agent Linda KordekThis new all-day exclusive course describes, in detail, how composers and songwriters can use the same techniques longtime agents use to open doors, get music listened to, and get paying work in film and television music. Learn what has traditionally worked and what to expect in the changing world of “convergence” and strikes. The course will cover areas including identifying prospects, approaching decision makers/net-working skills, the submission process and your demo package - what to send, what not to send, the negotia-tion process, the financial aspects, closing the deal and working in the new paradigm.

SATURDAY, MARCH 1The Working Film & TV ComposerInstructor: Film & TV Composer Shawn ClementThis course will benefit composers who are working or studying to work in the film, television or videogame music industry, and provides in-depth, hands-on knowledge about how to successfully work as a composer including detailed looks at the art, craft, technology and business issues critical to a successful career working as a film, television or videogame composer today. From streamlining your studio to making new business contacts, getting work and building a career, this course covers what composers need to know.

SATURDAY, MARCH 8Understanding and Maximizing your ASCAP, BMI and SESAC Royalties Instructor: Performing Rights Author and Composer Mark HoldenThis one-day seminar by veteran per-forming rights journalist and composer Mark Holden provides an in-depth look at how performing rights royalties are paid and how composers and

songwriters can maximize their royalty income. The course will cover topics including how the performing rights system works and the role of perform-ing rights organizations (PROs), choosing a PRO, pros and cons of ASCAP, BMI and SESAC, the process of registering your works and filing cue sheets, music usage categories, payment rates, and more.

SATURDAY, MARCH 15Conducting Film Music Recording SessionsInstructor: Orchestrator, Copyist and Author Ron HessConductor and orchestrator Ron Hess teaches all the basic and not-so-basic conducting skills composers will need in order to take control of a film scor-ing session and competently conduct ensembles ranging from small groups to large orchestras. The course will include participants conducting a live musician. Among the topics covered will be workable beat patterns, saving effort by cuing within the beat pattern, developing left/right arm indepen-dence, visual telegraphing of important score elements, mental approaches so you can control your ensemble (and not vice-versa!), eliminating counterproductive elements in your conducting, replacing time-consum-ing verbosity with gestures that work, sight conducting, and session strategy.

SATURDAY, MARCH 29 Basic Engineering for ComposersInstructor: Film & TV Scoring Mixer Michael SternVeteran scoring mixer Mike Stern dis-cusses and demonstrates a variety of important engineering techniques that can be used by any composer to make their mixes sound better. These basic techniques can be accomplished with most DAW and digital editing software that will be used during the course to demonstrate the engineering tech-niques for composers. Mike will also discuss advantages of different digital editing software for composers and will discuss plugins, mixers and other outboard equipment.

SATURDAY, APRIL 5The New Music EditorInstructor: Film & TV Music Editor Christine LuethjeMusic Editors are the ultimate conduit between the Director/Producer and the Music Department. At any point in the process this position can have a significant amount of influence on who is hired, which songs are used, and how the royalty generating cue sheets are reported. Usually working for no less than 5 people per project, the music editor directly contributes to the efficiency of each project’s work flow while managing an often heavy editing work load. Areas covered in the course include spotting music meetings that are music efficient, the influence behind tracking music, temp scores, and music libraries, tips and tricks for cutting songs and licensing responsibilities, support and strengthen the scoring session, bullet proof the final dub: delivery specs and protocols, cue sheets that protect performing rights royalties, deal memos that safeguard the creative process, and how to employ digital transfer technologies for improved work flow. Handouts, demonstrations, and examples will be provided.

SATURDAY, APRIL 19Scoring Reality TelevisionInstructor: Film & TV Composer Shawn ClementAn in-depth look at the day-to-day work of scoring top reality shows from a working composer’s point of view. The course will focus on the art, craft, business and technology of this boom-ing area of television programming including how jobs are won, the use of library vs. custom scored music, unique scoring challenges (artistic issues), logistical issues including turnaround time, examples of good reality scoring, where the reality tele-vision marketplace is headed, political issues, and budgets and the use of live musicians.

SATURDAY, APRIL 26Creating Great Film & TV Scores and Parts with FinaleInstructor: Orchestrator, Copyist and Author Ron HessVeteran Finale pro and orchestrator Ron Hess provides an in-depth look at how composers can quickly and effectively use Finale for score and part preparation. Special emphasis is placed on working efficiently with Finale and creating parts that are easy to sight-read. Whether you’ve worked with Finale for years or are new to the product, learn tips, tricks and intelligent strategies at this focused course designed to enable composers to embark on the path to mastering this powerful tool. Areas covered in the course include: approaches to being the master and Finale the slave (instead of vice-versa), extending Finale’s capabilities through the use of internal and external macros, saving time & effort by building good templates, batch-processing through the use of Finalescript, a look at the future of computer notation: touch-type input of scores, making sense of the recent score/part linkage features, really cool, but undocumented, Finale capabilities, and customizing finale to achieve your own distinctive nota-tional style.

SATURDAY, MAY 3The Art of the DealInstructor: Film & TV Music Agent Jeff KaufmanThis course will benefit those who are already working or are seeking to work as a film and television com-poser, film music agent or manager. This course takes a comprehensive look at the role of the film and televi-sion music agent, and how composers can effectively function as their own agent if they do not yet have an agent handling their careers. The course is also designed to benefit those who are considering a career as and agent or manager for film and television music.

It’s A New World Out There...

w w w . f i l m m u s i c i n s t i t u t e . c o m

F I L M M U S I C I N S T I T U T E S P R I N G 2 0 0 8 C O U R S E S

ISSUE�50�•�FEBRUARY�12,�2008� 7weeklyFILM MUSIC

BUY THE CD HERE: •www.varesesarabande.com

Title: The Bucket List Composer: Marc Shaiman Label: Varese SarabandeSuggested Retail Price: $16.98 Grade: A

Few composers have gotten so famous for playing it big like Marc Shaiman. Sure this

elfish composer’s first gig was a horrific one-off called Misery. And he may have done decent dramatic work on A Few Good Men and Ghosts Of Mississippi. But this is a guy who’s greatest claim to fame just might be his appearance as the upside-down piano player in Hot Shots, so we know that Shaiman’s got a thing for com-edy. And we’re talking about the big, boisterous scores for the likes of City Slickers, Down With Love, South Park- The Movie, The Addams Family and The First Wives Club. Even though they all showed up before he adapted Hair-spray into a smash musical theater piece, you could say that all of Shaiman’s comedy scores played like a glorious drag queen belting it into the front row. And it was a godsend sound to those of us who remembered when comedy scores could be unabashedly huge and melodic instead of the pizzicato hodge-podges that Hol-lywood favors now.

So who’d think that a composer who seems more comfortable with a bang instead of a whimper could do so much with musically less – and unleash perhaps the biggest emotions of any of his scores to date? But that’s what makes Shaiman’s beautifully moving score for The Bucket List particularly astounding. Just when you’d expect to hear a full orchestra pounding in the schmaltz like snot in a hand-kerchief, Shaiman relies on subtle strings and lite jazz to effectively play the heartstrings. Sure critics may have lambasted Rob Reiner’s movie. But screw ‘em, because this one had me at the first appearance of Shaiman’s terrific theme, a wellspring from which the entire score beautifully flows.

First gently played on harp, then with strings that barely rise above a whisper, Shaiman conveys the gut-kick of seemingly

terminal illness with a quality that’s almost whimsical, if not slightly magical. It’s a fore-shadowing of the live-while-you-can romp that Jack Nicholson and Morgan Freeman will later embark on. But in the meantime, their bouts of chemotherapy and depression have a resigned vibe, with a sad-sack sax that gets across the resignation of an unfathomable diagnosis. Yet Shaiman avoids becoming maudlin in the pro-cess – something even more amazing when you consider that this is the guy whose score for Patch Adams caused a generation of moviego-ers to go into diabetic shock.

Perhaps the reason that treacly Robin Williams approach is nowhere in sound here is because a smart-ass curmudgeon Jack Nichol-son’s the star. But then, I’d suspect The Bucket List works so well because Shaiman’s investing his own past losses into the score. And it’s the kind of deeply personal place from where the best work springs. About the only time the full orchestra swings in is when the characters find their eternal bond, and rest atop Mount Ever-est. And it’s the sound of orchestral handker-chiefs that are well earned yet still aren’t over the top. For once in a score like this, you can hear the sound of your own sniffling instead of the gushing symphonic tears that are gonna make you cry, dammit.

Shaiman and frequent director Rob Reiner have done a great job spotting the film, play-ing emotion instead of comedy-drama. And that’s made the The Bucket List come in at 27 minutes of score. The rest of the 21 minutes are filled out with Shaiman’s piano renditions of such favorites as Mother, North, Simon Birch and his Oscar-nominated South Park song “Blame Canada.” And devoid of the big strings and brass, the performances come across as Shaiman unplugged. Even the theme from The American President gets new lyrics with a nice,

small chorus. It’s the closest thing a sound-track fan will have to hearing Shaiman play in a nightclub right side up. And his talent for memorable, melodic themes comes across quite nicely – as does his hilarious satirical ability in “Printmaster.” With apologies to “Goldfinger,” Shaiman transformers John Barry’s melody into a composer’s universal lament at having their music chewed up by sound effects and song-hungry studio execs. It’s a great compli-ment to his hilarious “Finding Kraftland” video on YouTube.

On that note, special mention should be made to Shaiman’s agent, the nearly-as-funny raconteur Richard Kraft. In what seems to be a small book, Kraft details his relationship with a composer whom he at first thought couldn’t write beyond a Bette Midler stage show. In his deeply felt reminiscence, Kraft details the heart of an agent-composer relationship that became a real friendship. Kudos also to album producer Robert Townson, who’s fashioned what could have been a filler album into a tribute to Shaiman at his restrained best.

Yet all of this isn’t saying that I don’t still love Shaiman’s rambunctious comedy sound-by-way of Broadway. In fact, I can’t wait for him to put out another score that sounds like a guy in drag having a blast at orchestral happy hour. But even the biggest of voices have got to rest some times. And Shaiman lowers his for The Bucket List to enormously moving effect.

Watch Marc Shaiman’s Finding Kraftland video here. n

CD REVIEW by DANIEL SCHWEIGERdschweiger@filmmusicweekly.com

Comedy’s Most Antic Composer Gently Brings Out The Handkerchiefs

8� ISSUE�50�•�FEBRUARY�12,�2008 weeklyFILM MUSIC

ISSUE�50�•�FEBRUARY�12,�2008� 9weeklyFILM MUSIC

THE CHART DOCTOR by RON HESSrhess@filmmusicweekly.com

Music Prep Strategies, Part 3: “Not-So-Common Courtesy”

This week, we kneel again at the altar of “Our Lady of the Perfect Read-Through,”

at which we must be ever vigilant for any-thing that can help our players worship with us.

All too frequently these days, I see com-puter notation which demands that players think like a software program rather than the other way around, making some discussion of courtesy (or “cautionary”) accidentals a bit overdue. Basically, their role is to prevent questions, simply by clarifying to a player what the intended state of a note’s pitch is (flat, natural, or sharp) after it has been altered temporarily in a previous measure or two. This is predicated on one of Newton’s Law of Musical Momentum: that an altered note in a musical moment or phrase tends to stay altered through-out that moment or phrase. This expecta-tion by an all-too-human sight-reader can work against you by creating confusion if your notation isn’t absolutely clear (see example 1). Hence the need for courtesy accidentals.

When all manners of music prep were done by hand, the preparer was forced to see the melodic lines in context, horizontally and at a snail’s pace, so that any needed ac-cidentals were obnoxiously clear. Software, on the other hand, with its huge potential for shortcuts in the entering and editing of note data, severs that connection between input and visual context, and therefore breeds laziness. To put in what mother technology still instinctively leaves out, one must always keep one eye open, at the input or the proof-reading stage, for situations that need those visual aids.

Mentally, players carry the “instinct” of an altered pitch for perhaps a measure or two

following its occurrence, and that’s the win-dow in which any reappearance of the same note may need a courtesy accidental, either affirming the alteration or canceling it with a natural. Due to my experience with soft-ware, when I read most computer notation, I’ve gotten into the WYSIWYG habit (a term from early PC development: “What You See Is What You Get”). No assumptions. No in-stinctual phrasing. Less joy of participation in the psychology of music-making. And (in a global economy where your performer may see the look-and-feel of traditional engraving and react accordingly) less efficiency in the reading and recording of your music.

Courtesy accidentals, then, are not just some quaint holdover from a bygone era; they’re just one more useful tool in the vast arsenal of the smart, forward-thinking chart preparer. Time being money, why play rou-lette to any degree with your precious studio time? For years, the thankless but necessary task of searching for needed courtesy acciden-tals fell first to the composer, then to the or-chestrator, then to the score proofreader, then to the copyist, and ultimately (on the fly) to the players. For a discussion of the method I use as a proofreader, please see my article on the subject (“Four Steps To A Perfect Score,” FMW issue 26, August 15, 2007).

But why work so hard on the front end? There is a little-known (or should I say

little used?) feature in Finale (and hopefully every mature notation package by now) that automates the “search-and-insert” process for needed courtesy accidentals, based on user-definable criteria. This feature (in-cluded with the program) is a plug-in called “Cautionary Accidentals,” and is found under the Plug-In menu through the option “Note, Beam, and Rest Editing.” Simply select a range of measures (including both those with pitch alterations and those following, or even all of them) and invoke that plug-in. In the resulting dialog box, try the following options: “Courtesy Accidentals” with “Courtesy Natu-rals,” “Layer 1,” “Layer 2,” “Layer 3,” “Layer

4,” “Never,” “Auto Freeze Accidentals,” and “No Cautionaries On Repeated Notes.” Then set “Reset After” to 2 measures and hit “OK.” For a complete discussion on this tool, look up the pdf manual index under, “Accidentals: Cau-tionary Accidentals plug-in.” It’s a simple process, but as far as I know not yet automat-ic. (Are you listening, software developers?)

Step by step, as you strengthen your software chops and achieve greater score prep enlightenment, these tools and strategies will get you closer and closer to the kinds of ses-sions that breed repeat business. For other discussions along these lines, you can access my previous 30+ columns at: http://www.filmmusicweekly.com/back_issues.html.

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

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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.

NOW SHIPPING! Order now at www.truespec.com

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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MUSIC TECHNOLOGY by PETER LAWRENCE ALEXANDERpalexander@filmmusicweekly.com

Logic 8, K2 Players and Beyond

Recently, I gave a first review of Peter Seidlaczek’s String Essentials 2 from Best

Service where we examined setting up the K2 player inside Logic 7.2 so that it would operate multitimbrally. Lest we forget:

Thankfully, happy days are here at last (as opposed to again) with the release of Logic 8 which finally makes using software instruments like K2, Kontakt, PLAY, Aria, and the Vienna Instruments, uber easy.

Not wanting to give the impression that SE2 is difficult to use, I’m demonstrating just how easy it is to set up a virtual instrument with Logic 8 featuring Mr. Seidlaczek’s String Essen-tials 2. What you’ll learn in this column applies to all players provided they’re compatible with your Mac system.

Adding a New Track

When you decide to add a track you get the New Tracks window. Logic now defines players as Software Instruments. So you have three choices for a track: audio, software instruments and External MIDI (anything connected to the MIDI interface with your Mac).

To the right of Number of tracks is a check box with Multi-timbral next to it. Check the box. Once checked, the number 16 automatically appears. If you’re still working on a G5 Power PC that works with Kompakt et al, you can change the number of tracks from 16 to 8, or however many you need. When you’re done click Create.

Logic 8 now creates the number of tracks you asked for. You’re halfway home at this point.

Selecting the K2 Player

The new Logic graphic user interface (GUI) makes life much easier. Each track has its own channel strip and Bus Out assignment. So to select the K2 player, position the cursor over I/O above the fader on the far left.

Here’s what opens up after you depress the mouse button:

Once you get to AU Instruments, you keep sliding the mouse to the right until you get to audio options. Here, you have 10 choices:

Mono•Stereo•5.1•Multi Output (7 choices including 16 mono, •16 stereo, and five other combinations).

I selected stereo.

Now, it’s not necessary to select Multi Out-put. If you select either of the first two choices, you’re electing to submix on a single audio out. If I selected Multi Output Stereo, then each individual track would be in stereo.

(Continued pg 12)

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MUSIC TECHNOLOGYOpening the K2 Player

The next step is to open the K2 player. To do that, just double click on the K2 player name above the fader. It’s in light blue.

Now the K2 player opens. Select your library, add your instrument and assign your MIDI channel.

After you finished loading the desired instruments inside the K2 player,

just close it and go back to the Logic Arrange window to where it says INST 1. Double click in INST 1 to rename the track.

Now you’re done. And so am I. 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.

Logic 8, K2 Players and Beyond (continued from pg 11)

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