Wiardgroup

> The reason I asked why you would use a Buchla is that I know and
> know of several people who do what you do---NONE of them use analog
> except for window dressing to impress clients.  Time is money. Who
> has the time to diddle with patches and record monophonically when
> you can push a button and play with all ten fingers?
OK, fair enough.
*A lot* of the soundtrack work I hear sounds depressingly generic.
There are a couple of sample CD's by Spectrasonics, 'Distorted Reality' and
'Distorted Reality 2'. I own both, try and use them sparingly.
I hear those samples/patches EVERYDAY on tv and film scores. Often the
composer has written an entire cue with two DR patches!
I'm never going to be a great Hollywood composer.....I don't want to be, but
I yearn for the 60's and 70's when film music was truly contemporary,
Bernard Herrman, Nino Rota, Ennio Morricone, Quincy Jones, Herbie
Hancock.....even John Carpenter.
Over the last few years I've been hired for mainstream TV shows, but I've
argued with directors over the heavy rock guitar they want every time there
is an action sequence, or the request for a bit of saxophone during the love
scene, the comedy music just to nudge the audience into realising they're
supposed to laugh. I guess I realised I wasn't cut out for 'prime time'.
Instead I've carved out a little niche with young documentary film makers. I
use my knowledge of dance music, my years in rock music, my training in
classical music and my collection of analogue synths, to try and realise the
music they are looking for. It's a lot more time consuming than switching on
a few midi modules, but a lot more satisfying and at the end of the day,
good for business.
CW