DELIVERING MUSIC FOR THE FILM “FOR BLOOD” (COFFEERING ENTERTAINMENT LOS ANGELES, CA)
Sometimes I am fortunate enough to have the time to take on a project outside of Cakewalk, and I love that those projects let me put our current SONAR Platinum “Rolling Update” to the test in the field. Recently, the LA-based production company Coffee Ring Entertainment asked me to write, produce and deliver three tracks for their new movie, For Blood. This article describes highlights of the process involved in writing and producing one of those tracks for a specific scene in the film.
My first question to the director was, “Do you already have placeholder music in the rough cut?” When producers and directors have placeholder music they like already set into the cut, it speeds up and simplifies writing and producing the music. Fortunately the answer was “yes,” so all I needed to do was replicate what they liked about their placeholder tracks using the array of instruments and plug-ins in my home project studio rig.
A primary objective in writing music for film is to forget about yourself and your own emotional agenda. And oddly enough, for me at least, this notion really speeds up the workflow because you are writing/producing for someone else’s purpose other than your own thoughts. Adamantly keeping this in mind throughout the writing/producing process helps to stay focused on what the client wants. For this song, it’s exactly what I had to do because the producers had a Tarantino-ish type track set into the scene, and my innate production style tends to lean more towards big, clean commercial pop rock. Luckily, I could go to YouTube and analyze suitable styles of music but even luckier for me, SONAR’s Addictive Drums and TH2 plug-ins were ideal for dialing in the kind of music that was needed. Continue reading Anatomy of a SONAR Project: Replacing the Placeholder