Summary
Paul Weir
An in-depth session on synthesis and generative sound might not be everyone's cup of tea at 10 in the morning, but fortunately Paul Weir was playing to a friendly crowd. I expected the session, entitled 'Between Sound Design and Music' to discuss the various tools that we, as composers, might use to create and manipulate sound, enabling us to venture beyond our comfort zone of trusty synth patches and pre-programmed sounds. But as Paul's infectious enthusiasm for all things audio became apparent, I quickly realised it was going to be as much about inspiration as it was about technical know-how. With his uniquely fresh approach, Paul encouraged us to think differently about sound altogether and open our minds to new audio possibilities.
Armed with his trusty PCM10 digital recorder (which he never leaves home without) Paul revealed the lengths he goes to in order to capture the many every-day sounds that form the basis for his fresh approach to sound creation. His technical wizardry was interspersed with stories of drain sampling, aeroplane chasing, and numerous other bizarre activities that Paul undertakes (on a daily basis it seems) in order to keep his scores sounding so fresh and original.
From a theoretical standpoint, we travelled on a synthetic journey touching briefly on the various methods of sound creation, beginning with modular synths such as Reaktor & Massive, then on to audio editors and Adobe Audition in particular, followed by a look at Paul's much-loved time stretch plug-in, Paul Stretch. After a quick dabble in granular synthesis and Alchemy, he went on to discuss generative audio, an area much explored by game composers and one that Paul also specialises in.
All in all a fascinating, and thoroughly enjoyable, glimpse at the way an audio pro thinks, and how he goes about elevating his work to the next level.
Michael Price
Whether you're a Sherlock fan our not, you're unlikely to have missed the much talked about roof-top scene at the end of the Sherlock series 2 (catch it on BBC iPlayer if still available). Michael Price began his talk with an analysis of this scene, the score for which could have filled his 2-hour session by itself. The award winning music, which he co-composed with James Bond composer David Arnold, is most notable for combining sensitive orchestral writing with subtle ambient sounds, a technique that recurs throughout the series.
Although Michael makes a point never to discuss the ins and outs of who composed what, he was generously forthcoming about his work on Sherlock, freely opening his Logic files and taking us inside his software plug-ins. From the signature Sherlock theme itself to the foreboding underscore to the haunting episode, The Hounds of Baskerville, the audience came away with a privileged insight into the way Michael works, his preferred sample libraries, reverbs, mixing techniques as well as a few inside tips on how he goes about creating some of his more unusual and experimental sounds.
In discussions with Nick, Michael was refreshingly open about his own experiences in the business, how his career progressed and some of the pitfalls to avoid (particularly when working with directors) and the possible challenges of being part of a composing duo. A highly engaging and informative snapshot into the career of one of the UK's most successful screen composers.
Christian Henson
Christian Henson's unusual route into film, though a successful career in pop music and later as a somewhat prolific 'adult' movie composer, may go some way to explaining his unconventional and exciting approach to film scoring. Within seconds of sitting down to begin the talk his infectious enthusiasm for sound was apparent. And it's this, coupled with a rather eccentric desire to experiment and push boundaries, which makes his music so powerful.
He chose to focus primarily on his acclaimed score for The Devil's Double, Lee Tamahori's film which tells story of life inside the court of Saddam Hussein and the relationship between his son Uday and his body double. Set in Baghdad, the score combines authentic middle-eastern instrumentation with exciting, contemporary production, resulting in a highly immersive and darkly invigorating score.
Christian's eclectic sound palette is immensely powerful. But once we delved deeper into the sounds themselves it came as a welcome surprise that that, while the score undoubtedly demonstrates a unique creative flair, many of the obscure and intriguing sounds are actually relatively simple to create and (most importantly) do not necessarily require a vast array of software or samples. His technique of using authentic or everyday instruments and drastically altering them beyond recognition (in ways the majority of us are already familiar with), actually serves as a welcome reminder that the creative possibilities of a score are not always limited by budget.
Christian is also much in demand for TV work, and went on to demonstrate the very punchy title sequence to Fresh Meat, discussing in some detail the sounds and production used for the drums, bass and synths, along with a sneaky look inside his chosen plugins and soft synths. For me this was a hugely useful and enjoyable insight into a unique approach to scoring and 90 minutes I hope never to forget.
Olivia Dixon
Comments & Feedback
This was my favourite of all the SMN Masterclass series. The first session genuinely opened my eyes to a new way of thinking about sounds. This was really inspiring. I was very relieved to see both Paul and Christian highlight the importance of something simple and unique, of not being afraid of your own approach and equipment / sounds. The emphasis on original sound approach and musical honesty is what I've really taken away. A fantastic day.
Tim Oliver
Sound design masterclass was totally brilliant from start to finish. Excellent, complementary speakers, inspiring AND practically useful.
Highlight was Christian who really opened my eyes to a few things. But the other two were great too - and there's nothing like seeing a Logic project open on the screen in front of you and being taken through it.
Thought Nick did a great job as well, really enjoyed his focused questions before the general Q&A opened up. Great venue too, perfect in every way.
Jamie Salisbury
All three sessions were relevant and inspiring but for different reasons. The level was a perfect match for me - all made sense and inspiring. Impressed by the culture of SMN - very little ego displayed, generous, honest, healthy sense of community and integrity. What more could anyone ask? Would definitely recommend to others. Thank you!!
Chris Mitchell
Really enjoyed the series of talks last Friday from film composers. They were on top of their game and their enthusiasm shone through. It was an inspiration. I'll be looking out for more Screened Music sessions in the future. Cheers!
Rob Dimery
Another excellent and very enjoyable event! I thought the whole day was pitched at just the right level, covering a balance of tech, creative, industry and personal topics. Many thanks!
Martin Batchelar
This was an excellent opportunity to meet and hear from a three high-level composers, each with a different approach to creating music and each a specialist in a different field (videogames, TV and film). Because of these differences between the composers all of the sessions were crucial, relevant and interesting. The content was pitched perfectly for composers currently working in the industry, with reference to sample libraries and software which is familiar to us.
Connor Hutton
Having two speakers who are so involved in high-level television/film work at the moment made the event unique. Being able to see their DAW setup/plugins etc was particularly interesting.
The fact they were approaching composition/production from different angles meant there was a good variety in the talks, Q and A session at the end was good too. The speakers managed to be instructive without being patronising and they seemed aware that they were talking to people with decent knowledge/experience of DAWS/plugins.
James Warburton
The Talent…
Paul Weir
Paul is a London based audio director, sound designer, composer and voice director and has worked on over forty games along with film, television, radio and installation production.
Through Earcom, Paul is the Audio Director, Composer and Sound Designer for Eidos Montreal's new Thief game. Unusually for a major AAA title, Paul is responsible for creating all of the audio content for the game, uniting sound design with music and ensuring that sound is fully represented within the overall design.
As a composer Paul works across a very large range of genres and his music can be heard on games, adverts, film, radio programmes and library music CDs. As a sound designer he specialise in original creative sound design adding a distinctive identity to sound design projects.
Paul has worked on all the major game platforms and many custom technologies and is currently assisting in the development of a standalone Linux based generative music box.
Previous projects include the games Lego Harry Potter, Lego Batman, Pure, Juiced 2, Ghost Master, Warrior Kings, Ghost Rider, Crime Life, Discworld Noir and many others. Paul is well versed in using Wwise and FMOD and often has custom tools built for his game projects. Other work includes The Adventures of Sexton Blake (BBC Radio 2), Warner Breaks TV campaign, Tiscali TV idents and the films Book of Blood, Stagknight and An American Haunting.
Paul has extensive experience with interactive and generative music systems in games and isn also the leading commercial generative soundscape composer having created in-store music for organisations such as BAA, Tesco and Intercontinental Hotels.
Paul lectures in game audio and has run everything from diploma course modules to full post-graduate courses. He has taught at the London College of Music and Media, Bath Spa University College, SAE, Ravensbourne College and the University of Montreal.
Michael Price
Michael Price is one of the UK’s most sought after composers. Michael has recently won a ROYAL TELEVISION AWARD and both BAFTA and EMMY nominations for the critically acclaimed BBC series SHERLOCK, which he scored with David Arnold, and a second series of the BAFTA winning drama aired on BBC1 in January 2012.
In a busy 2011, Michael scored kids’ comedy HORRID HENRY: THE MOVIE for Vertigo Films, which stars Anjelica Houston, Noel Fielding and Richard E. Grant, CHEERFUL WEATHER FOR THE WEDDING, directed by Donald Rice and starring Mackenzie Crook and Elizabeth McGovern, and Paul Wilkins’ thriller 7LIVES starring Danny Dyer and Martin Compston. Later in 2012 will also see the release of Crispian Mills’ directorial debut A FANTASTIC FEAR OF EVERYTHING, starring Simon Pegg, with a bold new score from Michael.
Last year, Michael completed the score for WILD TARGET, a romantic comedy directed by Jonathan Lynn of YES MINISTER fame with a stellar cast including Bill Nighy, Emily Blunt, Martin Freeman, Rupert Everett and Rupert Grint. This commission swiftly followed Michael’s fantastic score for WILD CHILD, Working Title’s successful teen film released in the UK at the beginning of 2009. In late 2008 Michael also wrote and recorded the score for prize-winning documentary THE MOUNTAIN WITHIN, following the emotional journey of a group of adults with disabilities climbing Mt Kilimanjaro.
In addition to composing for features like Zentropa’s DOMMEREN and Slingshot Studios’ SUGARHOUSE Michael has scored 2 documentaries for famous producer and director ALFONSO CUARON; THE SHOCK DOCTRINE, NAOMI KLEIN’S brilliant and terrifying film on disaster capitalism and THE POSSIBILITY OF HOPE, a look at different matters of the world such as immigration, global warming and capitalism through the eyes of scientists and philosophers. Michael met Alfonso Cuaron when scoring additional music for the Academy Award winning feature CHILDREN OF MEN and worked closely with him as music editor for this dystopian science fiction film.
Michael has also forged a strong working relationship with fellow composer DAVID ARNOLD with whom he has written and arranged on a number of projects, including Edgar Wright’s HOT FUZZ, CASINO ROYALE and QUANTUM OF SOLACE.
Michael’s first film experience was as musical assistant, co-producer and arranger to the late MICHAEL KAMEN, which whom he collaborated for 5 years, including projects like X-MEN, BAND OF BROTHERS, IRON GIANT and METALLICA - S&M, and concerts around the world.
Prior to achieving acclaim as a composer himself, Michael also enjoyed significant achievements as a music editor with films like Peter Jackson’s trilogy THE LORD OF THE RINGS, Richard Curtis’ LOVE ACTUALLY, BRIDGET JONES: THE EDGE OF REASON and NANNY MCPHEE. As a music editor, Michael has been nominated for 4 MPSE GOLDEN REEL AWARDS, winning in 2001 for THE FELLOWSHIP OF THE RING.
Christian Henson
Christian is one of the UK’s most talented and sought after score composers whose vitality and creative approach is very much at the vanguard of the next generation of score composers taking over this industry.
He has just completed scoring the much anticipated The Devil’s Double starring Dominic Cooper. Directed by Lee Tamahori, it tells the story of life inside the court of Saddam Hussein, centering on the relationship between his son Uday and his body double. This is due for worldwide release early in 2011 and has been entered for competition, both at Sundance, and the Berlin Film Festivals.
Further recent highlights of Christian’s career include two films with director Christopher Smith; Triangle, featuring the vocals of Dot Allison and the critically acclaimed Black Death, (which earned him a Best Original Score award at Screamfest LA), as well as the French blockbuster La Rafle, starring Jean Reno and Melanie Laurent, and a collaboration with Oscar winner, Dario Marianelli for Working Title’s Hippie Hippie Shake. Christian has also scored the globally recognised Agatha Christie’s – Poirot. He delivered an incredibly enticing score for 4 feature length specials, including Murder On The Orient Express.
Since his debuts with Les Fils Du Vent & Chasing Liberty (which earned him a “Discovery Of The Year” nomination at the World Soundtrack Awards), Christian has used his broad experience both in orchestral and electronic disciplines to write an eclectic mixture of scores, including the children’s blockbuster fantasy, The Secret Of Moonacre (featuring Bat For Lashes’ Natasha Khan) and Chris Smith’s cult horror hit Severance, (which earned him an Ivor Novello nomination for “Best Original Movie Score” in 2007).
Christian first became immersed in the world of film composition early in his career through his highly acclaimed work within the UK Drum & Bass, Breakbeat and Pop scene; working with the likes of LTJ Bukem, The Freestylers, Scott Walker & Roy Ayers. Through writing for over 50 hit and cult TV series, combined with programming and assisting for a number of film composers including, Anne Dudley, Harry & Rupert Gregson Williams, Dario Marianelli and Patrick Doyle, Christian began forging what is now proving to be one of the most successful film and TV scoring careers in the UK.
By Christopher Gutch, Cool Music August 2011
Nick Ryan
Nick Ryan is an award-winning composer, sound designer and audio-media specialist. Nick's unique approach to music and sound and his core interest in using sound and music to describe visual 'form' has resulted in his collaboration with diverse disciplines of film drama and documentary, motion graphics, animation and interactive media, orchestral ensemble and radio.
Projects include Film Four short 'Spin', UK feature 'Rabbit Fever' Louis Theroux's 'Law and Disorder' series, the generic soundtrack for Sony PS2, Odeon Cinema titles, MTV's 'M2' channel idents, MTV News Titles and World Aids Day identity. Nick worked for three years with 'BBC Imagineering' as an Audio Media Research Consultant where he was responsible for the conception of creative future applications for sound in broadcasting.
Projects include Film Four short 'Spin', UK feature 'Rabbit Fever' Louis Theroux's 'Law and Disorder' series, the generic soundtrack for Sony PS2, Odeon Cinema titles, MTV's 'M2' channel idents, MTV News Titles and World Aids Day identity.
In 2004 he received a British Academy Award for 'The Dark House', a groundbreaking interactive radio drama that he devised and mixed live on BBC Radio 4 in September 2003. During this time he co-authored two Government reports 'The Future of Music' and 'The Future of Radio' which predicted future global trends in the creation, distribution and consumption of music and radio.
In 2007 Nick released 'Cortical Songs' - a four-part 'symphony' for twenty-four piece string orchestra based on theoretical models developed in 1950s, which describe the rhythmic 'firing' of groups of neurons in the cortex of the brain. The album features remixes by Thom Yorke, Simon Tong, Gabriel Prokofiev and others.
In 2008 Nick won the prestigious $100,000 'PRS Foundation New Music Award' for the 'Fragmented Orchestra' project - a giant sound installation that captured fragments of sound from 24 locations across the UK and transmitted them to the FACT Gallery in Liverpool.
In September 2009 Nick received an Honorary Doctorate of Music from Plymouth University.