Sound Log
| Diary of a Sound Mind |
Introduction
|
|
Page 1
Page
2
Page
3
|
|
Conclusion
|
Fortunately, the designers provided some direction here. They had developed a relationship with an ensemble in New York who had agreed to allow their music to be used in this project, and who had recordings of the Ang-Kluk. It was the client's intent early on to use the material in a relatively unadulterated fashion as the music for the soundtrack. After viewing the visual elements, which bore no discernible relation to the recordings, I suggested that an original score be developed, based on the music they provided. They agreed, and work commenced.
I ran through about two hours of the client's material, taking notes on each track, and recording sections to hard disk that I felt might make good elements for the score. I began layering my favorites against one another, shrinking and stretching tracks where necessary to create a common tempo. Once I had some sections and combinations I liked, I began adding other elements: strings, percussion, and bass.
After several iterations, I was able to come up with something that the client and I both liked. Among the criticisms from the various members of the development team along the way: "Get rid of the trap kit. The snare sounds like something out of a porno movie" (ouch!), "I really like that [jazzy part]," "less jazzy," "more ambient," "more techno," "More experimental...like Harry Partch."
Click on the button below to hear
the final music mix.
(20 s of 8/11 mono music-- 220k)
At one point, I was provided with a rare CD of
the aforementioned artist, a snappy selection featuring a soprano singing
haiku poems lamenting lost loves to the accompaniment of a solo violin.
Hmmm.
We discussed briefly the option of rewriting the Virtual Chemist's lines
as a libretto, with the violin part performed by the catalyst while the molecules
do their thing. Then we stopped discussing it.
