Wow, Eric. It has been a long time. Welcome back!
Thanks for the kind words, Bjorn and Olexandr!
Sorry for my late reply! Oops!
Thanks for the awesome support and encouragement, everyone.
Well done Phil!!!! Tell us, what was it like doing cues/music for a reality TV series?
The custom scoring to film part was a new experience for sure. Since it was such a big project, guidelines had to be placed around everything. For example, music would fit into one of three categories: recurring “theme music” (like, the elimination campfire music, or the show’s opening theme song), “custom music” (adventurous fanfares scored specifically to the visual aspects of the epic quests and challenges – hitting musically with the visual hits), and “stock music” (music to hit certain moods that they would splice together for the parts between the quests and themes, i.e. the contestant interviews). Each category had time limits either per episode (custom) or for the whole season (theme and stock)
I learned quickly about some subtle custom-scoring tricks, like gradual tempo fluctuations to hit where it needed to.
Also, trust your instincts, but keep to your strengths. If you ever get a job like this, remember, they hired you for YOU. How would YOU like the music to go? AND be open to their ideas. They had great ideas and when I would finally let some of mine go, their ideas often enhanced it. These guys knew what they wanted but left room for me to put my flare on it. Now that’s not true for every client… but they ARE paying you to own the music when it’s done, after all. They get a say.
However, in order to keep things on schedule, the contract outlined only a certain amount of rounds of revisions. Remember: guidelines are your friend. Make it feasible for you. You’re also doing them a favor by keeping things to the timeline.
Musically, keep some subtle threads that tie it in all together (similar instrumentation throughout… go back to things you used before. Make a session template with instruments that you see yourself using often) I MILKED the Ney Flute. It’s from that region of the world and found a way to work it in almost every song.
how did you set the price for the job? Was it something imposed by the production or the result of an agreement and, if this is the case, did you have some source to define a rate (for exampre, x money for 1 minute of music)?
Thanks and congratulations for this achievement!
I’m open to giving some tips on this through the comment box on my AJ page.
Thanks again, everyone!
I like it. I use it as my multiband compressor for mastering. It does the job well until I get Ozone haha.
My friend who is a professional producer says that it is better than Ozone’s multiband compressor… but Ozone is a suite of many other things as well. I hear really good things about Ozone too… Thanks for weighing in!
Have a safe trip! AudioJungle needs you! If you’re passing through Indianapolis on the way, I’ll take you to dinner. Unless you’re traveling with a large family… I’m no elite author (not yet)...