Finale

Score Manager - hide instrument names in style

Time signature and empty rest in staff tool - right click

Time signature and clefs in document option

shift + command + , or . to change the size of the words in expression

Edit Categories in expression - score list 1 - to show stuff on top of 1st violin

Change the font of the time signature (Notation: Time (Score) and font 40, position of
the symbol (-1 bottom symbol), and hide the time signature (in document option)

-right click staff tool, click hide rests then delete time signatures from parts

Utility- change instrument or go to JW plug-in and do change instrument, but change

transposition

shift command S - sharp

shift command N - natural
shift command F - flat

Engraver text

OP upper and lower case

Use engraver T

Show Hidden Notes- In View-Show

Cross staff in TG tool - set the split point

(On top to bottom staff in cross staff- do below and next
(From bottom to top staff in cross staff- do above and previous)

Not show rest default-

Simple entry option- unchecked hide rest at the end of measure

alt + note value = get rip of dot

lyrics - after you type it in, do click on the melody to get the words
option click will insert the entire lyrics into the melody

Warning Clix - do hide layer 3 in staff tool, unchecked copyable,

in Alternate Notation, choose blank notation
GO to plug in, check Ledger Line (Hide)

x note head in mastro- option +shift + /

Hide Empty rest after warning clix

You need to turn on “Show Active Layer Only” in “ document” and

then run the plug-in on the layer the warning clix go on, then turn off
“Show Active Layer Only.”

1. The reason it’s not displaying empty rests in those measures is because those
measures aren’t empty, so the first thing I did was to add a rest into layer 1 for all those
parts.

2. I removed your “hide layer 3” staff style and replaced it with “05. Blank Notation
(all layers)” in all the ones I wanted totally blank (only applying to score, of course!).

3. In the flute part I created a new staff style that hides Layer 1 and applied that to
the score.

4. Clear staff style for parts, then move the whole rest down
shift + option + / ,— do the x note head, then just do | for the stem

Edit Category- unchecked the top staff, so the timecode won’t show
DP
shift + L - menu
shift + command + option + i = open instruments

command and option hold - use arrow keys to change the size

shift + U = add a bus for proverb

shift + command + M - add a MIDI track

control + command + A - aux track (stereo)

shift + command + A - audio track (mono)

control + M - add marker

3 - record
1- back to the beginning

Used the tempo change within 4 throughout the piece

Volume change in Kontakt factor library

Different play library to play consistent same note

logic - reverb - dry (off), and Rev (on)

Col Legno- less reverb,m play with decay in Play, boost the bass frequency in EQ , can
be not too quantized

horns - sus mellow, Qlegato

Reverb - one for wind, brass, string

DP proverb - all center
Then EQ the reverb (get rip of the low, middle (low), right (pull up)
Cello EQ - two down curve to the right (8 bands)
The right knot - where the reverb is coming from
high strings (470 to 500hz), get rip of them
Low brass (cut off like 250hz - warm sound)

String inderstand $600

up a little on 1000 - brass mellow
600 down - brass down , mellow
600- up , brighter
2500, can be up a little for brass
Pro Tools
Interleaved- split the stereo into 2 monos - they move together

7200RPM
left hand corner- modes (4)
Shuffle, spot, slip, grid

Waves zoom , —> tools

Command + E/ or B - cut
A- cut left
S- cut right
D - a fade in to where the line is
Tab- shift to the next line or fade
command + 1 - show transport window
command + space bar= record
F12 or 3 = record
Universe view- view of the entire section in Pro Tools

Timebase ruler- minutes, seconds, samples, frame

conductor ruler - current state of tempo and meter, markers
option click- to get rid of stuff in the ruler like key or chords, change the direction of
something, select all

Press (Enter) in the keypad - add marker

Hidden track- still audible

subgroup - option click all tracks-
command + G - group

option - go back to original, select all,

command - down- go down to change names

option + ; = workspace volume

shift + command + N - create tracks

shift + command down- add another layer
dyn- dynamic

timebase selector- audio or midi clip - identify its location either absolute time or
relative time

shift + command + w - quit session

command + q - quit
command + N - new session
shift +command + G - group
shift + command + G - ungroup
shift + command + R - regroup - affect the other duplicates

Window- memory location - markers window

, and . - move by frame
in spot mode- you can change the marker’s location

shift click- extend either end

.3., then hold shift, .4. - this will select between the two markers

command + 2 - session setup

control click- to line audio/midi up to the start time
command + G - Group
shift + option + I - import data

Command + M , mute the region

shift + option + 3 - make one file from everything
audio suite- other - normalize -2.0dB
Cello - lower at 300z (slightly)
Clarinet 750 range cut
Harp - 500 range + compression , just a little cut

L to R - use bus —> interface

mono to LR - panning (in the middle, insert, sends)
Reverb - to Aux input

Original audio file-

Reverb, EQ, delay - pre and post fader
use send and return system
EQ and reverb - use send
control + ; or control P (going the taken selection up and down)

Curve down like an L - softer fast at the beginning, then slowly fades out
Curve down T - soft down slow, then fast at the end

shift + command + w - quit

command + I - check folder size

Create an aux stereo, copy both room left and right and hold control to drag down, so
that everything locks in time

Wide, clarinet sounds front and reverb is longer

Clarinet sounds more natural
Cello - room mic- darker
5. wide mic- hear more details
Room - softer
Wide - bring it closer
in EQ - click on a dot, and shift + option to get a V shape

I/O - setup - bus

Audiosetup -> other —> normalize
shift + control - drag a V shape in EQ

control + option + command

save Session Copy - check audio files, movie/video files, main playlist only
Then on the clips- click on show - auto created, then compact

deslected the group track, then you can edit individual track

insert - 10, send- 10

pre-delay - time it takes before you start hearing reverb
Do wet signal
All tracks originally have dry signal

bound to disk - only care timeline selection

submix- select all the tracks, then create new track (aux, stereo), then everything will
apply to all
Setup session
Import video, include audio (Set up frame rate, and possible need to do 00:23:45:00 if
music starts at 0:00:00:00)
Event list- go to time operation - Moved song start
Conductor Track- must be on

command + I = beat marker

Command + 5 - memory location - shift click to get a selection between markers

Hold control - ruler

Event - tempo operation - change BPM between markers

Click - output - Kontakt 5 MIDI in 1-1

To print click

option + shift + 3 - combine regions

two types of MIDI capable tracks

instrument track
MIDI track (default to ticks) - only route input into the audio track, not midi track

Routing
Create 4 MIDI tracks and one aux track, then route each output of MIDI to Kontakt
channel

Event - quantize , input quantize

exclude within -

conductor track- want the bpm follow with the tempo map

on the playhead, click the note with control, then the note will snap into the playhead
hold shift and move the note, it will lock horizontally or vertically

View -edited window view - real-time properties

command click on aux track- to solo
any track that you click solo after, won’t mute the track that you command click

Final Project
moving slwoly
magical
imply cage

reopen the tempo operation window each time

tempo operation- linear for access, or it
80 , accel to 130ish

command up or right arrow can move the naming down when naming the tracks

Freeze track - instrument track, temporary audio file

committed track - aux stereo
Right click, click commit tracks, check consolidate clips
check both volume and Mute, and Pan
For printing

Free up processing power

command + D - duplicate tracks

command + F - fade dialogue
cross fade - can do equal power or equal gain

duplicated the same track three times,

then do cross fade, afterwards, delete the one before and the one after
Then the cross fade in the middle region is the loop

condense mic- good for woodwinds, have a lot of harmonic details, need phantom
power
dymanic mic -

marker- relative (Bar|Beat} - stay in the bar|beat location

like start of the 2nd section

absolute- remain in this based on the absolute time -

Change the tempo, and the time and frame stay the same based on the absolute time

control click- click commit to change midi to audio

Setup the Click track in Pro Tools

-Create an Aux (mono), insert Kontakt and drag in the click wav file into it. Editor Map,
expand it all the way (full range). (unselect tracking in Kontakt)
-Go to Setup, click/countoff and route the click with Contact Channel 1, same velocity
for accent/unaccented and 2 bars count off
-Create an Audio track (mono)
-Insert a mono bus on the output in the Aux track (click track), then change the input of
the audio track (Click record) to that mono track
-option click the mono track in the send A-E, then click record bottom
-Make sure the dotted and I are clicked on the left before record

After you plug in the midi track from DP, check import time signature and import as
MIDI track, then all the data will transfer correctly. Record by creating an audio track as
stated above. Do two audio tracks. Delete some clix to do warning clix then
consolidate.

Music Colloquium
Intellectual property
-chords, lyrics, melodies (song)

Master - a recording (original)

get both the permission of intellectual property and Master

Copyright - who owns the intellectual property, protected your piece of music

publishing- who get the money when it is used

Royalty
Droites Morale 10%
-

Work for hire - doesn’t require for claiming all ownership and offership

contract in America - needs to say which ownership you are owning

50/50 - writer share and publisher share
Performance royality - overtime when this music is performed in TV network, [theatrical
performance, except in USA or Canada]
Theater used to be owned by the studio
Mechanical royality - on CDs and downloads, soundtack album

Owning copyright, pushing, and master allows you to sell it

-keep Copyright, publishing and master. if the movie doesn’t see the light

You can negotiate other deals. publishing is the 1st thing to negotiate

Owning copyirght, means owning the master

Statutory rate
Record a song that you don’t own
you pay 93 cents/track/CD

harry Fox Agency - the company that owns mechanical property

Usually the company owns the copyright, and you own half of the publishing and they
own the other half

Medium Budget
Split publishing
PRO - performing Rights Organizations

NBC
ASCAP -American Society of Composers, Authors & Publishing
SESAC -
BMI - Broadcast music, INC

Blanket License
-split between all the composers by ASCAP
He amount of money that PRO charges the TV network to use their music

Log Music: when does your music play in each television network
NBC, CBS, ABC, HRO, Show Time

Random Survey
Jorge -1
Paul - 2
Hayley - 3
Hayley will make 3 times more than what Jorge makes

9 months Domestically
3 years - Foreign

Week 2
Tv/Cable
-Performance —> PRO —> split in half 50/50 between writers and publishers

Theatrical Non-US/Canada
-Performance —> Local PRO —> PRO in the US —> writer and Publisher, still 50/50
in Italy - 1% of the box office

Sheet Music
Mechanical —> Publisher —> then pay the writers’ share

Radio
6. Performance —> PRO —> Publisher and Writer

Theatrical US/Canada
• zero

DVD/Video- zero
Sound Exchange
• collect royalty’s for being artist
• Performance royalty tries to get artist/musicians to get paid
• 


CD/Soundtrack
—?Mechanical —> Harry Fox (like a PRO for Mechanical royalty) —> Publisher —>Writer

Stuff being streamed - don’t get paid at all

If your music gets performed at a concert, get a copy of the program, then submit it
into PRO - then PRO will pay you

Try to join both PRO and sound exchange , join ASCAP/BMI/SESAC

ASCAP - credit on cue sheet/ concert works, then join as writer & Publisher

Register Work - Cue Sheet (If your name is in it, then join one of these organizations)

France
Pay in two different ways , 2/3 Performance Royalty, but 1/3 of it is board cast
Mechanical
Performance Royalty - local PRO —> US Publisher - then to US Publisher —> writer
Boardcast Mechanical —> local PRO —> US PRO —> Writer and Publisher

Black Box - not gonna search you, you will have to search them

Contract
Fee Deal - money the composer keeps (Composer only)
• limited to major motion pictures like X-Men
COmposer will get a film, then get another budget for making the music

Package Deal - money for the music budget (Composer + all expenses)
TV Series and smaller films

Usually get your deal put together

50% composer and 50% spending on musicians

IN reality, 40% composer and 60% musicians

Starts of Credits
-Studio credits (“Director” Film, title, main star, then less major stars)
Single card credit- your name is on, but no one else is on

Start of Film
-Director—> writer —> Producer —> Editor —> Composer (no guilt)
• Composer says - Single card - in the main title credit in similar font and style as
accorded to writer of the screenplay
Clear Field Crawl Credit
• Your name along travels from bottom to top (only your name)

Song Credits Listed at the end

Crawl - orchestrated/codnucted, additional music by

Billing Block
- names underneath a movie poster, or video/DVD
-Packaging & Posters & Paid Ads
• Theatrical Trailers

SCL (CLGA) - Society of Composer/Lyricist

Composer/Lyricist gild of America

NLRB - National Labor Relations Board
• where composer negotiates better deal for orchestrators and musician

Soundtrack credit & Fees - Will negotiated with a good faith

Schedule
Delivery date
If you can do - tie delivery date to locked film
With 4 weeks - with worked picture
(3 mins / day - after themes)
Payment Schedule
deal memo (Production to Agent) -Work/payment schedule
• - credit
• certificate authority (Production to Agent/Composer) -money (copyright - saying not
stealing or using it for something else) Trigger 1st payment
• it holds you from being sued

Pay to play - you have to pay rather you use the music or not

Composer’s royalty doesn’t go to Producer

Contract - your lawyer
Boilerplate contract -

Turnaround
• someone pays money upfront to write script

Payment
-Fee
-Package
-Step Deals
-upfront 20k - most common
-5 million 5k
-10 million 10k

-Limited of time (limit of how much you write)

Max 20 mins
Additional fee if more

Payment schedule
-tie to certain events
Deal mono
-1st payment triggers the certificate of authorship
1st day of work
• working for pre-recorded or research
• Live musicians - should have least 3 payments
• 1st day of work, 1st day of recording, last day of recording, delivery of music, delivery
of deliverable, signed contract (payment days) pick 4

Completion Bond - just like insurance , watch over the progress of the film to make sure
it will be completed

Deliverables
-Masters 5.1 (left right center) 48k
Format (CD, Tape, DAT)
computer format 44.1/48/96k , 16/24/32bit
Wav, AIFF, Pro Tools files
-Stems Stereo WW, BR, STrings, Percussion
5.1, 7.1, 8.1
L LC, C, R RC , SS/SUB -surround, subwoofer (long and high wave forms don’t have
direction)
-Sheet music
• Credits - Orchestrator, Conductor, or feature players, song titles of performer
• Music Cue sheet

Music Cue Sheets

(Cue #) Title Composer Publisher - 20th C Fox Music (BMI) Usage Time -1:22
(1M1) Steve gets a cold Hummie Mann

WTO. William Tow Overture (Public Domain) Arranged & Adapted by Hummie Mann
(BMI)

Public Domain pays a portion of the whole piece

Ch.25 - On the Track

Be very clear, no miscommunication. If we co-write a song, the instrumental version is

all mind
‘Certifiied mail
-Please response within 3 days if you want any changes. After 5/30/12 I will assume that
these terms meet for approval.

Contract, composer agreement - who makes the contract leans towards 1 sided

Deliver music that their brothers cannot do

Selling sheet music- of you own the copyright and publishing, you the earnings is 100%
yours
Listed - orchestrator and conductor as Union

mg stock- magnetic tape, 35mm style, very expensive

-no need to worry anymore- outdated

Two weeks from now- your own contract (1page or 2)

2nd page- scenario
Words doc.

Career people
-Agent - produce work & negotiate (10-15% of your income)
Technically a salesman
-lawyer - fine details of contract (% deal or per contract, sometimes 500 dollars/hour)
-Manager - Steers your career (10%)
-Business Manger - takes care of $ (5%)
-Publicist - promote your career in public eye (monthly rottenly plus expenses $2,500)

Loan out corporations- Business manager takes care of all your legal stuff. He can
manage the payment into the Loan out corporations, so that you don’t get taxed on.

DBA- having another name instead of just you. Someone who forms a company wants
to have a different name.

Budgeting - If you want me to do it with 20 musicians, it will cost….. If you tell me your
budget is, then I can tell you what we can afford. Make them give the number.

Get at least 1 live musician in each song

-Rent a nice microphone
-Two most important things, studio monitor, and a nice microphone

Musicians - gas $($50-$200) - Don’t take super advantage and don’t call them too much
(non-union)

Seattle $60/hr - each musician, paid as indie contractors

Premium- concertmaster $90
Percussionist- cartage, $200 and up
Oversale players
Contractor 10% of total musicians
Plan - no more than 5 mins of music per hour
-No doubles charges
-Overbdub is okay
AFM - $75/hr
-Health & welfare /Pension/ Health Insurance/ payroll (add to 30%)
-Play for doubles, 50% more
-Only used in Film!
-Soundtrack - new use payment
• TV/Cable/DVD/Video/Streams - “Special Payments” - Film Musicians secondary
market fund

• Hire at least 3 hours

• Singers- hire per day, get actual residual

Studio
• You + Microphone
• Hourly cost $250/hr , include 2nd and 3rd engineers
• Main Engineer- gets paid separately ($75-150/hr)

Music Prep - Copyist stuff/Librarian- on site/Orchestrator

Orchestrator- gets paid by a 4 bar page
$85/page for major motion picture , $45 for TV with a smaller orchestra
Copyist- gets paid per page
Nowadays- package deal
Librarian- $35 to 50/hour
Make sure scores and books are in order
Conductor/booth person
-Assistant
-Call up the lead copyist to find the price

3hr min, 4 hr max - regular hourly $60

Put up an 3 hour call, must be available for 4 hours
-3 HR call - available for 4 hours, in 15 mins segments (Still the same rate)
If you go into a 5th hour, premium rate 150%, $90 (still by the 15 minute segment)

Contractor-keeps time for the 15 min segment

Shit happens, then put the 10 min break in the beginning

Conductor- will be paid premium rate

Booth person - gets paid $60/hr
Orchestrator: if the last page is 2 bar, then you pay for half a page. 3 bars=1 full page

Leave yourself some extra- just in case

Directors
95% chooses composer
99% directors don’t understand what and how we do (Education, hand holding”

Melody or not?
What gives the music identity
-Ask 3 films music enhanced story
-How much melody

Policy- emotion depth, how much melody

-spotted
Disagreeing with directors
Force too much, they will fire you
Not the best decision for film

Never do free composing- once you do it, they won’t call you again. When they have
money, they will pay for another composer in a higher food chain

-You will do what director wants, but don’t want credit on the film

-Walk off a project (not a good idea)

Most people hire- based on reputation

Directors - Disagreeing
-Not the best decision for film
-You will do what hehe wants, but don’t want credit on the film
-Walk off

There is a finishing fund

-I don’t want it to make it sound like a cheap TV score

Directors know little about music- accelerando - faster

Communication- below
Talk to them through emotions
Ideas of propulsion
Rhythm

Score music- piece of music that can be heard in the scene (character can hear it)
If they talk to you about music, take the largest grain of salt if you can
They gonna pull out every term that they know music to talk to you.
Wrote a score sound like Aaron Copland
Americanica- the director might miscommunicate cuz Copland has different style
The style doesn’t match what the director thought
“Great” job on film.

Lose your ego

Promotion
Website
-don’t oversell
-credits
-Bio page
-Audio page
-Video page
-Photos
-only 3 mins to explain

Demos
-CD-general momo
12 tracks- or less
1. 3 minute sales pitch
Montage - 8 - 16 bars different styles
Edit together with cross fade
(not a single piece of music)

each track should have a title

“Happy Day” from "Good Life”
Directed by: Stefan Shpeelbarg
-Orchestral Romantic Comedy (say electronic or live)
Feature- sop. sax
2 :45-1:00

CD itself-name, contract info, website

Professional looking cover
Cover, photo, name
Insert
Track List
Back, list bio

Specific kind of demo

Up for a project
Same cover, state for “Project X”
Pick things that they might want to use it
iF you know, you will be doing a romantic comedy, then everything you put should
sound like it

CD label
Demo for “X”
Phone, email, website

Target
-Director -main hiring
-Producer - won’t hire you, but will recommend you to a director
-Music Editors -temp score materals
-Music heads of studios ,__ need to know who you are when you get up the food chain
-Composers <— open/ghostwriter
Can try to put your music in the temp score

Ask for feedback

“Film Festival”
Say I watched your film, I like your film. I just started out after grad. school. Can you
listen to my demo for feedback? I know you have a good composer to work with you. I
am not trying to get a job. I just want feedback.

I try to break into the business. Ask for feedback.

Please -email or call me back.

Say that to the composer and since you have lots of experience, can you give me
feedback?
If the composer gets a gig and doesn’t know how to score a film, then you get the
orchestrator gig

“wanting feedback”
Film composer- find the voice of the film

Questions- timing- spotting and timing notes

Had and soft points
timing tolerance
Free click
Describe consideration of creating strong kernel - what kind of thing you can do to
establish strong downbeat?
Kernel, how to you make it memorable?
list the available tensions and avoid notes
functionality of diatonic chords
modal interchange
voicing - 5 notes spread
placement of prime dissonant voicing to get richness
package and fee deal
what should be listed on a music cue sheet
explain what the numbers mean in 6M3?
Hummie- said many times.
Definite vocabulary and policy of the scores are?
Theme is based on one of the three elements? listed them.
25 questions - have multiple answers.
Kernel and theme. How do you make a good kernel? How do you make a strong
memorable theme?

Exit interview - Cane and on, Fiasco - Need score and sync to picture, homecoming

Needs an extra set of hand

Sibelius
shift + P - panoramic view

Go to Parts - W for individual part

Note input - N - type in notes

command arrow- move octave

shift or just number - add interval above/notes

option - move around notes in the beat

shift - roll - left/right

command E - expression - hold command to type in dynamics

s- slur
shift space bar- move it back
space bar - move forward

escape the articulation/slur- click esc

h - hairpen cresc shift h- descre.

click on a bar- click r to repeat the measure

shift + command + M - break mult-rests

x- flip beam

x- flipping slurs and beam

shift command I - for changing tupelo

option + 1234 - change layer

shift+ P - change paranoiac view

command + up - move notes up and octave

option + command + 2 - select only 2nd notes

shift + command + H - hide stuff

shift + T - transpose

option + shift + N - change the notes, but keep the rhythm

option + number - to move layer

option - then click to copy the measure to another place

command + R - rehearsal mark

shift + option + command + z - to type in the z for sf

shift + command + E - engraving rules

/$ - wild card

command + , = preference

shift + command + H - show/hide

command + T - technique text

shift + option + command + T - change the font of a tempo/title/….

command + K - enter the chords

Harp diagram - op.10 text font (LMNO)

shift + command + option + p = paste the cue

Rehearsal - in Engraving Rules - rehearsal mark - prefix -1M

-double bar line between each cue and bar number change - to 1

shift + command + N - respace

option + command + i - show weird library

command + up or down- shift the notes

R - select - repeats the measure

shift + command + H - hide the notes

Questions - time signature, violins 1 & 2, clean up on spacing, pick up measure

cross staffing

shift + command + n = shift time signature to avoid collision

C-clef, key signature - K , time signature - T, chord- command K

Harp pedal- right click, go to text —> other system text —> plan system text —> and
choose “Opus Text Std” - between m,n,l,p with caps lock

Marilyn’s Dress Notes

00:59:10:00 film begins
01:00:02:00 Cut to grass - music begins
01:00:21:00 Cut to Marilyn’s Dress
01:00:24:00 Cut to house (bright)
01:00:30:22 the little girl shows up with a blue bottle (kernel)
01:00:50:09 Cut to the bottles
01:00:56:00 Girl dancing
01:01:01:20 Cut to the girl smiling
01:01:09:12 Men Shoes
01:01:21:07 little girl worries
01:01:30:12 Cut to big girl (worry)
01:01:41:07 Men walks to the chair
01:00:55:04 “You Gotta Come Inside"
01:02:08:10 Music tails
01:02:10:09 Cut inside the house
Zombie Film
-sound design
Using sounds as Traditional substitutes
should not sound like an orchestra
don’t use sounds that could be heard as sound effect

start roughly - 01:17:28:29

confuse - the dude’s emotion
18:04:18 - gets scared
18:12:13 (1:18:11:09) - zombie wakes up (important) - starts of a build
18:24:10 - reveal the zombie (important) - march begins
-the march of a soldiers, but cannot stop
18:26:15 - OMG (hit point)
18:45:29 - zombie starts walking
18:55:25 - please stop\
18:57:18 - start shotting
19:17:29 - start turning after he shots, modulation
19:32:03 - give up and die
19:44:10 - at ease solider
19:53:00 - tail into the next scene ?

No - acoustic instruments
Music begins
Zombie reveals - 2nd one - has music to due wit the 1st side

Ch.25
Business
-Keep searching for indi film as a starter

How to break into the business:

7. through an agent or other representative
8. 2. Direct contact with producer, director, music executive, supervisor
9. Third-party, recorded by a mutual acquaintance, family or others
10. 4. Someone who has heard his work and thinks it’s right for a particular project
Must live in LA or London
Music executive - send composer to the right director to work with
Usually hired experienced composers
Music Supervisors
Moving from TV to film is not easy and most composers don’t shift between both medias
-Must prepare with a good demo
-12 to 15 mins long, not too long
-Have enough variety
Makes copies of the CD and your demos - must look good
• if you get a gig, still pay an agent 10 to 15 percent to negotiate to get a higher pay even
if you don’t need to, to establish the connection
Sign with an agent- at least more than 1 talk a moth to get gigs and prepare for demos
Deal points- usually no paper work
Agent is responsible to collect the payment. Takes part of it then give you the rest. One
year, renewable.
-Exclusion, commission, and escape clause

Deal Points.
• Fee, including conducting, orchestration
• Orchestration, Payment schedule, credit (end credit), credit in paid ads, publishing,
sheet music, soundtrack album, New use fees, exclusivity
Package deal
Back-End Deals

C, Gb,F, Db, D, Ab, G, Eb, E, B, Bb, A

virtual reality hackathon

Kcomplete

I am composer for games and film. My focus is to help game developers to bring out their
emotions in their games. My focus is epic orchestro music.

One-hour game jam in Seattle

igda Seattle
Unity User group
Seattle Unreal Engine

Unity in Action: Mulitpleform

Tig source

https://docs.google.com/spreadsheets/d/1nETiS-
jMwWnt8UJ6nPQGxxcEJwQNgU4uVdDmx7fVpvQ/edit
Spotting Notes:

3M1 (Start) 03: 00: 26; 03-Mx enters as telephone fades in

3M1 (End) 03: 01: 27; 22-Mx tails as he sits down

Total: 1: 01 Title: “Flirting”

3M2 (Start) 03: 01: 28; 28-Mx Enters at C/boss with Liz

3M2 (End) 03: 02: 54; 06-Mx tails as boss is standing there

Total: 1: 26 Title: “Promotion?”

3M3 (Start) 03: 02: 57; 11 (Mx Enters at C/Slate)

3M3 (End) 03: 03: 50: 14 (Mx Tails as camera moves across house)

3M3 (Start) 03: 03: 51; 28-Mx enters as we see door

3M3 (End) 03: 05: 11; 08-Mx tails as passion pauses

Total: 1: 20 Title: “Making Up”

3M4 (Start) 03: 05: 13; 28-Mx enters at post it note

3M4 (End) 03: 06: 25; 19-Mx tails before he goes out the door

Total: 1: 12 Title: “Murder”

3M5 (Start) 03: 06: 46;24-Mx enters at guy running

3M5 (End) 03: 07: 31; 12-Mx cuts off as car hits him

Total: 0:45 Title: “Fleeing the Scene”

3M6 (Start) 03: 07: 34; 00-Mx enters on C/shoe

3M6 (End) 03: 08: 10; 22-Mx cuts off on C/black

Total: 0: 36 Title: “Dead Guy”

3M7 (Start) 03: 08: 15; 11-Mx enters at credit

3M7 (End) 03: 08: 36; 08-Mx tails at SFI logo

Total: 0: 21 Title: “End Credits”

29.97 drop - 30 frames per second, but doesn’t run that fast :00 , :01, …..:29 -
30 <— time code number

1,2,3,4, frame number

frame non-drop time code

00:04:22:00 - exact, but non-drop will be at a faster speed like 00:04:22:03 - 3 or 4

frames long, if it is like one hour, you will be like a second off

for TV show

29.97 non drop - 30 frame drop time code

23.976 - used 24 frame time code

25 - pal, 24 frame time code , in Europe

Open quicktime, command + I to see the time code

Quicktime 7 - on, there is no exact playing on time frame - it runs an average of 29.97
drop if it is on 29.97 drop

11. guitar - long and sinister

12. drums - don’t fit
13. weird horns melodies (rambling) - kind of having a kernel
14. Strings pad - music follows the volume of the sound effect
15. No kernel, string path wall paper

Variation Techniques
Tempo Reharmonization
Textures
Meter
Use of Countermelodies/counter lines
Orchestration Instrumentation
Contrapuntal Inner Lines
advmidi2
low frequency massqing- cut of the low end if it is too low
expression - tremolo - for a fade out note ( V shape for coming back in)
pitch bend- not for vibrato, if there are two same notes, do one higher than the other
one

drums - 60 to 200hz , cut off a little

Play strings- articulation

try short script and Marc
leave the release a little on

Flute - too much, then cut high frequency like at 2000h

In loud section, keep the loud session loud, but bring everything a hair down

High notes sticks out, use compressor (lower threshold)

taiko drum - boost around 200z , h high hz doesn’t matter too much

choir - drop 500 hz , wide

EQ in reverb - avoid boosting the middle soon, but drop

strings - not to EQ the same amount of reverb

tempo variation
volume automation

automate - go to main —+ send 1(Reverb) - choose absolute

Tuba- boost high freq. when there are lots of high instruments playing - to increase the
richness

Orange gets mail

16. whistling, light
17. Beginning - optimistic
18. middle point, when orange didn’t get killed (little darker)
19. Comedic
20. 04:00:21:08 - more dangerous and propulsive
21. 04:00:27:13 - less propulsive and calm down a little, but not at the original level
22. 04:0035:27 - build tension (slightly) , a little rhythmic propulsion, crescendo
week 3 (songwriting)
Intro- tells the genre, tempo, mood
Verse - story,
Verse 2 -slight change from verse 1, different lyrics,

Pre-chorus - lyrics can be same/different

Length 1-4 lines (not too long)

Chorus - 2-3 repeats (Hit on 45-1 mins)

Final time of Pre-chorus might be cut, because it is heard two times already
Hook - the catchest part of the melody in the song
Possibly some new things and slight variation
a new words or a little drop out

Bridge (2/3 of way of the song) (lift, ramp)

-usually after the 2nd chorus
-take the listeners far as far possible, but still belong to the song

Outro- play without the verse of the chords, just chords

Drummer- did contribute for making his part

If playing a written part, then he is an arranger

Lyrics Writing
Not a place to show long words
Conversational English
Focus- what the song is about
Good Title
Less adjective, more verbs
avoid cliche

Melody - not too many notes

23. Easy to remember and sing

24. Obvious where the title goes
25. Not too wordy to be melodic
26. Rhythmic and/or melodic phrases repeat
27. rhythms are varied in verse, chorus, and bridge
28. Not too much range for singers to sing
29. Phrases are short and catchy
30. Melodic phrases are symmetrical
31. Contais a magic moment (fish ,unexpected note or chord)
32. There’s no doubt where the chorus is
33. Bridge (if applicable) adds a new musical dimension
34. Melody holds up without the lyric

Publishing, songwriting agreement, statutory rate (rate you have to pay the publisher
$9.1 cent for every record it sold)
Publisher then pays the songwriting with the $9.1 (50/50 split)
$40 per song to pay the publisher
Do it as album is also $40
70 years own by the publisher

When you send your song for film scoring,

Do not attach MP3,
listen key lyrics and a few adjective
ASCAP - publisher
co- write - split equally or don’t have to split
sheet music - comes from royalty
https://docs.google.com/spreadsheets/d/1V4WXwSYlnxtuh_AR4F4IZoprJXlp4oXx62XF
32Wb6mU/edit#gid=1767774877

8 notes or less, write a melody

Play 3 or 4 times

Video game
Loop- seamless
branching- switching from one loop to another loop based on situation
Layering- adding or taking away an instrument based on what the player is doing
(doesn’t change chords)

Logic- check build in 2nd cycle

Looping, layering, branching
Branching - same key, length, tempo

Fmod- loop between branches

Fmod - Probability
Seek 200ms - slightly late’Mixing Secrets for the Small Studio

Wwise
-hold control to drag the green error
-in layout - go to interactive music
35. green and red - loop within the session
36. function f2
select all, then use control click to deselect
New parent - branch
New child - layering
z- zoom in , hold and click
playback speed - always “1”

Real time Parameter control (RTPC)

Wwise - F7, soundbank —> give the music to game developer, drag the Default work
Unit down in Kierachy Inclusion

Negotiation - I normally charge $10,000. Now, I know that you guys are indie
developers. How much are you willing to charge?

Logic Pro
Control click - the grey on top to change tool bar
C- get rip of the repeat cycle

End bar- at the end - can set the end time

click and hold- general aux track

click and hold to switch mono and stereo

option click - then move- copy there section to another place

control click- allow you to move the note in all length

click on right click tool- mute tool - select, then right click

, . - move forward or backward (shit , or shift .) - move further

select- then shift + spacebar = play select

shift + enter - going back to the beginning

control click - the right click menu will show up on the region

volume set somewhere -12 to 6

pizz- 100 to 200hz , cut off a little
brass - 200 to 500hz, cut of a little

control + M - mute a region

mute- option click the instrument tab in the selecting instrument tab

Q Range- a certain range of the notes will be quantized

Q Strength - how much to shift

Option + shift = move all the notes same velocity

option scroll- zoom in and out

tone = EQ

no clip

no negative bar rules

no change 44.1

control + B = bounce in place

command + B = bounce project

control + return = add another instrument within the group tracks that attached
volume/pan

option click the automation- then click delete

A- switch to volume/pan

marker - option + ,

control + end - beginning of the region

control + end - end of a region

option + Key command

option < or > - shift to a different marker

option + command + S - new track

option + command + A - audio

option + C

control + home - go to the beginning of a region

control + end - go to the end of a region

control + option + command - set the number for the tempo line

delete - can delete the new dot in tempo line

command + pageup (locked)

command + pagedown (unlocked)

Marker - add a new set of markers

hold control then move the pointer- can go to anywhere not on the beat

select the region and click ; , the selected region will snap to the playhead

option + command + A = add new audio track

option + command + S = add a new instrument
control + M = mute

command + T - split the playhead

Preference- audio - audio input device is built in input

option + C - switch color

j = glue tool

click file in the audio track- click functions - function setting to standard the click
control + M - selection
M - entire track

option + command + >< - move by frame

marker - control + opinion + ‘

lock marker - command + page up/down
option click - shrink the marker
marker- option + ‘
Command DP

shift + control period - move marker

shift period comma - change beat, time,
shift U - bus

control M - marker
shift + K - bring marker window
;-drop :-non drop

Overwrite- start immediately

Latch, touch- start after you touch the fade/notch

shift + U — instruments add multiple buses (65)

Accessibility- check the zoom in button said (use scroll gesture with….)
Finder— click “go” on top and hold option

highlight region before - shift + return or shift + option + return

streamer- line punch - circle

command 1 - stop sounding

option command T

quicktime - command I =check frame rate

right click the audio track, —> timestamps - set users timestamp from sequence, then
project - set chunk start time to the movie (1:00:00:00), then right click the audio and
click move to usertimestamp (2nd option)

orchestration
strings, woodwind, percussion, brass , score set up

terms for writing for strings

how to play back on the bow, and how to cancel it

know the opening strings

bowing
tremolos
use slurs to indicate bowing
harmonics - two kinds
portemento, rushes, one four-note qrt. stop. stop for cellos

pizz, div. mean

common doubles for woodwinds

Utility player
how you voice woodwinds and how to double
characteristics of instruments
what do clarinets and oboes do
What can strings do well fast
What is unique brass can do

Rewrite dougtail
Tranposition - standard
Voicing - focus groups (Flutes in unison)
How to use horns in brass voicing
How to use different kinds of mutes
Write out the pitches for trombones
What does a trigger do in trombone
4 portimento for trombones
Notation - flutter tongue , fall, open and close

Voicing for brass, focus group

Harp writing - show pedaling for certain scale

Complete the pedal (Do not include the avoid notes)
A passage to rewrite - pedal changes
Write a gliss. from one chord to another

Percussion
Identify - pitch and non pitch percussion
flame, rim, and roll, scrape

Score - set up, what info. on 1st page and other pages

1 or 2 things - about scores

Adv. MIDI 1
Inserteffect - sending something then get something out
SebdEffects- send a copy and get something else, then get it back with small changes
and mixes it with the original

BP - bend controller

MW - mod wheel
Studio Tech.
Omnidirectional - all directions
Cardioid - shape like the heart (unidirectional)
0 degree- on the top
Bidirectional - rhythm microphone (vocal)
Shotgun(super-cardioid) - in movie recording session

Pressure Zone Microphone (ZM - good tor record piano by pitting it on the lit of the
piano)

X-Y(Coincident) for stereo- perceive in the center

ORTF - near coincident techniques (spread out)

Analog to digital —> Pro Tools

Cannot observe how fast sound travels.

Amplitude measures how loud that is

ABX supplies

Protools Shortcuts
shift + command + N (New tracks)
command + = (show mixing bar)

F6 + F7 - together

R & T Keys - zoom in and zoom out

click the ruler - change size of the length

option click - change both tracks’ sizes at the same time

i/o - input/output

command + . - get rip of the recording while recording

option + scroll - zoom in/out

B key - separate the audio track into two

A key - delete stuff (left)

S key - delete stuff (right)

selected then command +F - edit cross fades

command + = - show window

Pink noise- 20hz is louder than 100k

White noise - equal amplitude

parametric EQ -

high pass filter - cut the low frequency

low pass filter - cut the high frequency

Pro Tools- command click on volume line to add a point, option click to delete

37. click - will switch between waveform and volume

Pro Tools- pencil tools
command + 2 - session setup
shift + command + I - import video/audio

command + 9 - show movie

LFO - low passed oscillator, for vibrato and lower than 20z

Film Music:
Music that supports, enhances or redirects the emotional content of a film
Makes a sad scene sadder, a funny scene funnier, a suspense scene more suspenseful, a
scary scene scarier, a love scene more romantic, etc.
Cues- music
Dub- adding sound
Can change the perceived pacing of a scene
-make it feel faster/slower
Can help establish location and/or time period

Type of music in a score

Underscore- composing underscore is the largest part of any film composer’s job.
aid fixing dramatic problems where the depth of emotion portrayed by the actor was
lacking.
Source- music that emanates from any source either visible or implied either on or of
camera.
Ex. from a radio or PA system- listening to jazz, classical, or heavy metal help establish
a profile of the character in the viewer’s mind.

Temp track- put the score in the film to make it better (wrong music work better than
no music)
Tempitis- director falls in love with the random music
Production Music- prerecorded when there is an actor or actors, singing, dancing or
playing an instrument on-camera. A film usually shot with 1 camera.
Pan (L to R or R to L)

Songs- used as the end credit of a film, in montage sequences or to underscore

sequences with little or no dialogue. Sometimes, it is from a 3rd party artist’s catalogue.

Spotting
-The process of deciding where music goes in a film and what the function of the music
is in any particular scene
-What emotion to enhance/redirect
-Does the scene need pacing help?
-Usually done in a spotting session with the director

Spotting
-For each cue decide:
In point (why?)
Out point (why?)
-Overall dramatic effect o score
_Changes to dramatic effect dictated by dramatic changes in a scene
-Where those changes occur in the scene (Hit points or Synl points)

Wallpapering cs. Scoring

-Walpapering a scene: The music gives an overall “mood” to the scene, but does not
constantly follow the scene’s dramatic nuances. (think of an “off the rack” suit)

Scoring a scene: Reflects the subtle changes in dramatic/emotional level throughout

the scene. (Think of a "made to measure" suit)
Work print- working on editing, show the work to people to get feedback, show it to
producer, sound effect people, and composer
Locked- not change to the film, but can do sound effect

Time Cut- cutting scenes that are boring and unnecessary

Pre-Lad- hear before you see the cut or her emotion, doesn’t start on the cut

Main Titles
End Credits

Trap doors ( change the theme of the amount of measure to fit the scene)- hit points

Second Definition of Film music

Theme & Variations
-Themes are commonly character based, situation based, or location based
Two types of variations:
-Dramatic Variations - different dramatic context for the use of the themes
=Technical Variations - timing requirements to match on screen action/dialogue, etc.

Cue Numbers and Time Code

Cue- piece of music in a film
Every Cue ha a number in the form:
1M1
1st number- Reel/Act number
2nd number- Chronological Order

4M5 - the 5th cue in reel/act four

SMPTE Timecode
-Every frame in a film has an identifying number
Burn Window= bottom of the film that shows the numbers

When the film is transferred/digitized to video it takes the following form:

01:03:22:14
Hours, Minutes, Seconds, Frames

-Develop by theSociety of Motion Picture and Television Engineers

30 non-drop - film
30 drop- television in the US
25 - used in European Film and television
23.976- newest format for digital cameras

Film travels at 24 frames per second (1.5 feet per second - each foot has 16 frames)
-When transferring film to video some frame duplication occurs
Evert 4 frame is duplication

We will use timecode to synchronize music to the action on screen

Telecine
TV: 4:3 , movie: 16:9