weeklyFILM MUSIC

FILM MUSIC RADIO: Daniel Schweiger interviews composer Marco Beltrami SCORING NEWS: “Superhero Movie” (James L. Venable), “The Women” (Mark Isham) and more

CD REVIEW: Daniel Schweiger reviews “Be Kind Rewind”

THE CHART DOCTOR: “When And Where To Optimize” by Ron Hess

MUSIC TECHNOLOGY: “E-MU PM5 and the PS 12 Subwoofers” by Peter Alexander

ISSUE 53 • MARCH 4, 2008 • A Global Media Online Publication • www.fi lmmusicweekly.com

Songwriters Hall of Fame Announces Latest Honorees

n Sources close to the Ameri-can Federa-tion of Musi-cians (AFM) union confirm that the union

has approved buyout recording contracts for music library re-cordings, with the first sessions occurring in the San Francisco Bay area in recent weeks.

The buyout music library sessions come on the heels of new AFM buyout agreements for

video game score recordings that have become very popular with both musicians and game com-panies.

The new music library buy-out sessions as well as many of the buyout video game sessions are occurring in the San Fran-cisco Bay area, which has seen a dramatic increase in recording work after Los Angeles recording musicians staged a mass cancel-lation for the AFM-approved buy-out sessions for The Simpsons video game. The move by Los An-

geles recording musicians, which was widely criticized by compos-ers and others, created concern among some in the video game industry about the viability of re-cording video game scores in Los Angeles under the new buyout agreements offered by the AFM.

Music library recordings have traditionally not been created under AFM agreements for logis-tical reasons, with libraries tak-ing the position that they cannot accept any “strings attached” to recordings and emphasizing that

they need to be free to license the recordings to anyone, anywhere without any limitations placed on the recordings or the library by a union. With a dramatic increase in the number of music libraries over the last two years, the AFM is positioning itself as a domestic alternative for library sessions that in the past have primarily been done non-AFM in Seattle and overseas.

For more information about the American Federation of Mu-sicians, visit http://www.afm.org

AFM Approves Buyout Contracts For Music Library Sessions

Zacharias Named BMI Film Scoring Scholarship Recipient

n Desmond Child, Albert Ham-mond, Loretta Lynn, Alan Men-ken and John Sebastian will be inducted into the Songwriters Hall of Fame this year, SHOF Chairman/CEO Hal David an-nounced today. The organization’s 39th annual induction and awards dinner is scheduled for June 19 at the Marriott Marquis Hotel in New York City. Special award honorees will be announced at a later date.

“From seminal rock to cross-

over country, from pop anthems to Oscar-winning musicals, this year’s inductees truly have con-tributed to the soundtrack of our lives,” commented Hall of Fame Chairman and songwriter, Hal David. “We are immensely grati-fied with the growing impact of our event, which is now one of the industry’s high points of the year, and we are looking forward to an-other memorable evening where we honor the accomplishments of our 2008 inductees.” (continued pg.3)

n Composer Javier Zacha-rias was named the 2008 BMI Film Scoring S c h o l a r s h i p recipient at a

presentation during the 10th an-nual BMI Day at Berklee College of Music. BMI composer Mark Mancina, in whose name this year’s scholarship is given; Chris Montan, Walt Disney Music presi-dent; Doreen Ringer Ross, BMI

Vice President, Film/TV Rela-tions; Berklee President Roger Brown; and Berklee Film Scoring Chair Dan Carlin presented the scholarship to Zacharias at the event.

The BMI Film Scoring Schol-arship is a yearly tuition scholar-ship awarded on the basis of com-positional maturity and talent, as well as financial need. Each year, the scholarship is given in the name of a noted BMI composer.

2� ISSUE�53�•�MARCH�4,�2008 weeklyFILM MUSIC

Publisher: Mark Northam Editor: Mikael Carlsson

VP Finance and Operations: Rebecca Lee Art Director: Joshua Young

Advertising Manager: Steve SchatzbergCopy Editor: Lisa Rawson

Technology Editor: Peter Alexander Soundtrack Editor: Daniel Schweiger

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Accounting: Tina Chiang Legal Advisor: Patricia Johnson, Esq.

Film Music Weekly is published weekly by Global Media Online, Inc.Executive and Editorial Office: 23360 Velencia Blvd. Suite E-12, Valencia, CA 91355. Tel: 310-209-8263 Fax: 310-388-1367, email: info@filmmusicweekly.com. We are not responsible for unsolicited material. All Rights Reserved. Reproduction in whole or in part without written permission of the publisher is prohibited. The opinions of contributing writers and editors to this publication do not necessarily reflect the views of Global Media Online, Inc. or any of our divisions, management or staff.

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weeklyFILM MUSIC This Week on

FMRFILM MUSIC RADIO

ON THE SCORE

EDWARD SHEARMUR

Film music journalist Daniel Schweiger interviews

composer EDWARD SHEARMUR,whose comedic scoring

accelerates with COLLEGE ROAD TRIP

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INDUSTRY NEWSZacharias Named BMI Film Scoring Scholarship Recipient (continued. from pg 1)

Mancina, this year’s honored composer, and Chris Montan, Walt Disney Music president, co-taught a master class on film scoring as part of the ceremony.

“This scholarship continues our mission of supporting young and emerging composers at the college level,” said BMI’s Ringer-Ross. “We support Berklee’s commitment to excellence in music and film scoring and their determination to further the growth of talented, trained, and educated composers.”

Zacharias, born in Buenos Aires, Argentina, developed an interest in jazz at age 7 when he began playing piano. At 11, he also picked up the saxophone, studying with some of Argentina’s finest players. In 2002, he passed up a scholarship to study contemporary music at Escuela de Musica Contemporanea, enrolling instead at the Universidad Católica Argentina, where he duel majored in orchestra conducting and composi-tion. Before long, Zacharias was playing saxophone, keyboard, and drums in a variety of commercial groups. Prior to moving to Boston to study film scoring at Berklee, he was pursuing an industrial engineering degree at Universidad de Buenos Aires.

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4� ISSUE�53�•�MARCH�4,�2008 weeklyFILM MUSIC

THIS WEEK’S MAJOR SCORING ASSIGNMENTS

James L. Venable: Superhero Movie

Superhero Movie,�the�new spoof making fun�of�films�such�as Spider-Man,�The Fantastic Four and X-Men,�gets�an�original�score�by�James�L.�Venable.�The�film�is�

directed�by�Craig�Mazin,�who�wrote�the�screenplays�for�Scary Movie 3 and Scary Movie 4,�both�of�them�scored�by�Venable.�Dimension�Film�produces�for�release�on�March�28�and�the�cast�includes�Drake�Bell,�Sara�Paxton,�Christopher�McDonald,�Pamela�Anderson�and�Leslie�Nielsen.�

Mark�Isham: The Women

Mark�Isham¹s�office�has�confirmed�to�Film�Music�Weekly�that�the�composer�has�been�hired�to�score�The Women,�Diane�English’s�upcoming�drama�comedy�star-

ring�Eva�Mendes,�Meg�Ryan,�Jada�Pinkett�Smith,�Carrie�Fisher,�Annette�Bening,�Debra�Messing,�Candice�Bergen�and�Bette�Midler.�Produced�by�Mick�Jagger’s�Jagged�Films�and�scheduled�to�premiere�on�Oc-tober�10,�the�film�is�a�remake�of�the�1939�George�Cukor�similarly�titled�film�based�on�the�play�by�Clare�Boothe�Luce.�Director�Diane�English�is�best�known�for�her�work�in�TV�comedy,�which�has�earned�her�multiple�Emmy�awards�and�nominations.�Mark�Isham�had�a�prolific�2007�with�seven�films�including�the�much�acclaimed�In the Valley of Elah,�Reservation Road and Lions for Lambs.

Richard�Marvin: Dead Like MeStephen�Herek’s�two�new�films�get�original�music�by�Richard�Marvin.�The�first�one�is�called�Dead Like Me.�An�MGM�picture�starring�Henry�Ian�Cusick,�Ellen�Muth�and�Callyum�Blue,�it�tells�the�story�about�a�reaper�who�cares�more�about�doing�business�than�taking�care�of�the�newly�dead.�Marvin,�who�is�best�known�for�his�heroic�orchestral�score�for�U-571,�is�also�doing�the�music�for�Stephen�Herek’s�Picture This!,�starring�Lauren�Collins,�Cindy�Busby�and�Robbie�Amell.�Herek�has�worked�with�several�of�Hollywood’s�most�esteemed�compos-

ers,�including�Michael�Kamen,�David�Newman�and�Alan�Silvestri.�Richard�Marvin’s�other�upcoming�films�include�the�comedy�A Fork in the Road and The Narrows,�a�drama�based�on�Tim�McLoughlin’s�novel�“Heart�of�the�Old�Country.”�

Kristopher�Carter,�Michael�McCuiston�&�Lolita�Ritmanis: The Spectacular Spider-ManKristopher�Carter,�Michael�McCuiston�and�Lolita�Ritmanis,�the�composer�team�also�known�as�Dynamic�Music�Partners,�are�currently�working�on�the�music�for�Sony’s�new�animated�TV�show�The Spectacular Spider-Man,�focusing�on�the�16-year-old�Peter�Parker�and�the�origins�of�Spider-Man.�The�cast�includes�Josh�Keaton�doing�the�voice�of�Parker/Spider-Man,�and�Peter�MacNicol�doing�Doc�Ock.�The�first�episode,�“Survival�of�the�Fittest,”�premieres�on�March�8.�Carter,�McCuiston�and�Ritmanis�-�whose�previous�credits�include�Justice League and Teen Titans�-�are�also�scoring�the�new�action�series�Ben 10: Alien Force for�Cartoon�Network.

THE SCOREBOARD LATEST ADDITIONS:Charles Denler: I�Am�•�A�Handful�of�Beans�•�Nothing�But�Dreams�•�Buttermilk�Sky�•�A�Meadowlark�Calling�•�Kate�&�Co.Andrea Guerra: Heart�of�Fire.Mark Isham: The�Women.Richard Marvin: The�Narrows�•�Dead�Like�Me�•�Picture�This!�•�A�Fork�in�the�Road.Bear McCreary:�Rest�Stop�2.James L. Venable:�Superhero�Movie.

COMPLETE LIST:Panu Aaltio:�The�Home�of�Dark�Butterflies.Tree Adams: Emilio.Andreas Alfredsson / Christian Sandquist:�Possession.Eric Allaman:�Witless�Protection�•�Race.John Altman:�The�Master�Builder�•�Shoot�on�Sight.Armand Amar: La�jeune�fille�et�les�loups.Marco D’Ambrosio:�Say�Hello�to�Stan�Talmadge.David Arnold: How�to�Loose�Friends�and�Alienate�People�•�Quantum�of�Solace�•�The�Chronicles�of�Narnia:�The�Voyage�of�the�Dawn�Treader.Chris P. Bacon: Space�Chimps.Angelo Badalamenti: The�Edge�of�Love�•�Secrets�of�Love.Klaus Badelt:�Killshot�•�Starship�Troopers:�Marauder�•�The�Scorpion�King:�Rise�of�the�Akkadian�•�Fire�Bay�•�Dragon�Hunters�•�Heaven�and�Earth.Lesley Barber:�Death�in�Love.

Nathan Barr:�Tortured�•�Shutter.Steve Bartek:�The�Art�of�Travel.Tyler Bates:�The�Haunted�World�of�El�Su-perbeasto�•�Day�of�the�Dead�•�Doomsday�•�Watchmen�•�The�Day�the�Earth�Stood�Still.Jeff Beal: Where�God�Left�His�Shoes�•�Salomaybe?�•�The�Deal.Christophe Beck:�Drillbit�Taylor.Marco Beltrami:�In�the�Electric�Mist�with�Confederate�Dead.Jean-Michael Bernard:�Be�Kind�Rewind�•�Cash.Charles Bernstein:�The�Cursed.Doug Besterman: Exit�Speed.Terence Blanchard: Miracle�at�St.�Anna.Scott Bomar:�Maggie�Lynn.Simon Boswell:�Bathory�•�My�Zinc�Bed.Jason Brandt: Something’s�Wrong�in�Kansas.David Buckley: Town�Creek�•�The�Forbid-den�Kingdom.Kenneth Burgomaster:�Garfield’s�Fun�Fest�•�Hero�Wanted.Mickey Bullock:�Sportkill�•�Orville.Carter Burwell:�In�Bruges.Edmund Butt:�The�Waiting�Room.Niall Byrne:�How�About�You.Peter Calandra:�The�Sickness.Paul Cantelon:�The�Other�Boleyn�Girl.Jeff Cardoni:�You�and�I�(Finding�tATu).Patrick Cassidy: L’aviatore.Nigel Clarke & Michael Csányi-Wills: The�Grind.George S. Clinton: Harold�&�Kumar�Escape�from�Guantanamo�Bay.Chandra Cogburn:�Fiesta�Grand�•�Orgies�and�the�Meaning�of�Life�•�The�Bard:�The�Story�of�Robert�Burns.Juan J. Colomer:�Dark�Honeymoon.Normand Corbeil:�Ma�fille,�mon�ange�•�Boot�Camp�•�Emotional�Arithmetic.Bruno Coulais:�MR�73�•�Les�Femmes�de�l’ombre�•�Coraline.Burkhard Dallwitz:�The�Interrogation�of�Harry�Wind�•�Chainsaw.Jeff Danna:�Lakeview�Terrace�(co-compos-er)�•�The�Imaginarium�of�Doctor�Parnassus�(co-composer).Mychael Danna:�Lakeview�Terrace�(co-composer)�•�The�Imaginarium�of�Doctor�Parnassus�(co-composer).Carl Davis: The�Understudy.Marcello De Francisci:�The�Butcher.Wolfram de Marco:�The�Lost�Tribe.Jessica de Rooij:�Tunnel�Rats�•�Far�Cry�•�Alone�in�the�Dark�II.John Debney: Big�Stan�•�Bachelor�No.�2�•�Starship�Dave�•�Swing�Vote�•�Old�Dogs�•�Sin�City�2.Tim DeLaughter: The�Assassination�of�a�High�School�President.Charles Denler: I�Am�•�A�Handful�of�Beans�•�Nothing�But�Dreams�•�Buttermilk�Sky�•�A�Meadowlark�Calling�•�Kate�&�Co.Erik Desiderio:�He’s�Such�a�Girl�•�Sons�of�Liberty.Alexandre Desplat: Largo�Winch.Ramin Djawadi:�Fly�Me�to�the�Moon�•�The�List�•�Iron�Man.Pino Donaggio:�Colpe�d’occhio.James Michael Dooley:�Bachelor�Party�2�•�The�Little�Mermaid:�Ariel’s�Beginning�•�

Impy’s�Island�2.Patrick Doyle:�Nim’s�Island�•�Igor.Christopher Drake:�Batman�-�Gotham�Knight�(co-composer).Ludek Drizhal:�Life�Goes�On�•�Synapse�•�The�Next�Race:�The�Remote�Viewings�•�The�Sno�Cone�Stand�Inc.Anne Dudley:�Black�Water�Transit.Randy Edelman:�The�Mummy:�Tomb�of�the�Dragon�Emperor.Jonathan Edwards:�The�Golden�Boys.Steve Edwards:�The�Neighbor�•�The�Inter-vention�•�Sharks�in�Venice.Cliff Eidelman:�He’s�Just�Not�That�Into�You.Danny Elfman:�Wanted�•�Hellboy�2:�The�Golden�Army.Stephen Endelman:�Redbelt.Paul Englishby:�Miss�Pettigrew�Lives�for�a�Day.Tom Erba:�Chinaman’s�Chance.Ilan Eshkeri:�The�Disappeared.Evan Evans:�The�Mercy�Man�•�You’re�Nobody�‘Til�Somebody�Kills�You�•�The�Poker�Club�•�Jack�Rio.Nima Fakhara:�Lost�Dream.Guy Farley:�Knife�Edge�•�The�Brøken�•�Dylan.Chad Fischer:�The�Babysitters.Robert Folk:�Kung�Pow:�Tongue�of�Fury�•�Magdalene�•�Vivaldi.Jason Frederick:�Good�Chemistry�•�Bears.John Frizzell: Henry�Poole�Is�Here.Michael Giacchino:�Speed�Racer�•�Star�Trek.Vincent Gillioz:�The�Appearance�of�Things�•�Portal�•�Last�Breath.Scott Glasgow:�Toxic�•�The�Gene�Genera-tion�•�Lo�•�The�Bridge�to�Nowhere.Philip Glass: Les�animaux�amoreux.Erik Godal:�The�Gift�•�Ready�Or�Not�•�Irreversi.Jonathan Goldsmith:�Tenderness.Christopher Gordon:�Mao’s�Last�Dancer�•�Daybreakers.Jeff Grace:�Trigger�Man�•�I�Sell�the�Dead�•�Liberty�Kid.John Graham:�Long�Flat�Balls�II.Harry Gregson-Williams:�Jolene�•�The�Chronicles�of�Narnia:�Prince�Caspian�•�G-Force�•�Wolverine.Rupert Gregson-Williams:�You�Don’t�Mess�With�the�Zohan�•�Made�of�Honor�•�Bedtime�Stories.Andrew Gross:�Forfeit�•�National�Lam-poon’s�Bag�Boy�•�Diamond�Dog�Caper�•�The�Speed�of�Thought.Larry Groupé:�Love�Lies�Bleeding�•�The�Hungry�Woman�•�Straw�Dogs.Andrea Guerra: The�Accidental�Husband�•�Parlami�d’amore�•�Heart�of�Fire.Robert Gulya: Atom�Nine�Adventures�•�Themoleris�•�9�and�a�Half�Date.Steven Gutheinz: Rothenburg.Todd Haberman:�Killer�Movie.Richard Hartley: Diamond Dead.Paul Hartwig:�Holiday�Beach�•�Tyrannosau-rus�Azteca.Richard Harvey:�Eichmann.Paul Haslinger: Prom�Night�•�Make�It�Hap-pen�•�While�She�Was�Out.Paul Heard:�Clubbed.Alex Heffes:�My�Enemy’s�Enemy�•�State�

SCORING NEWS by MIKAEL CARLSSONmcarlsson@filmmusicweekly.com

ISSUE�53�•�MARCH�4,�2008� 5weeklyFILM MUSIC

of�Play.Reinhold Heil:�Blackout�(co-composer)�•�The�International�(co-composer).Christian Henson: Zomerhitte�•�A�Bunch�of�Amateurs.Eric Hester:�The�Utopian�Society�•�Lost�Mission�•�Frail.Tom Hiel:�A�Plumm�Summer.David Hirschfelder:�Shake�Hands�With�the�Devil.Ben Holbrook:�Kiss�the�Bride.Trevor Horn:�Kids�in�America.James Horner:�The�Boy�in�Striped�Pyjamas�•�Avatar.Richard Horowitz:�Kandisha�•�The�Whisper-ers.James Newton Howard:�The�Happening�•�The�Dark�Knight�(co-composer)�•�Defiance�•�Confessions�of�a�Shopaholic.Terry Huud:�Plaguers.Søren Hyldgaard:�Red.Alberto Iglesias:�The�Argentine�•�Guerrilla.Mark Isham:�Pride�and�Glory�•�The�Express.Corey Allen Jackson:�Idiots�and�Angels.James Jandrisch:�American�Venus.Adrian Johnston:�Sparkle�•�Brideshead�Revisited.Bobby Johnston:�American�Fork�•�Stuck�•�Hotel�California�•�Happiness�Runs.Evan Jolly:�Tonight�Is�Cancelled.Tim Jones:�Cryptid.David Julyan: Eden Lake.George Kallis: Antigravity.Tuomas Kantelinen:�Arn�-�Riket�vid�vägens�slut.Yagmur Kaplan:�The�Elder�Son�•�The�Lodge�•�Broken�Windows.Laura Karpman:�Out�at�the�Wedding.Kenji Kawai:�L�–�Change�the�World�•�Orochi�•�The�Sky�Crawlers.Rolfe Kent:�The�Lucky�Ones.Wojciech Kilar: Black Sun.Mark Kilian:�Before�the�Rains.David Kitay:�Shanghai�Kiss�•�Blonde�Ambition.Johnny Klimek:�Blackout�(co-composer)�•�The�International�(co-composer).Harald Kloser: 10,000�BC.Abel Korzeniowski:�Terms.Penka Kouneva:�Midnight�Movie�•�The�Gold�and�the�Beautiful.Ivan Koutikov:�Wanted�Undead�Or�Alive�•�Living�Hell.Robert J. Kral:�Batman�-�Gotham�Knight�(co-composer).Aryavarta Kumar:�The�Rapture�•�Greater�Threat.Nathan Larson:�August�•�Choke.Jim Latham:�Greetings�from�the�Shore�•�Swishbucklers�•�Parental�Guidance�Sug-gested.Craig Leon:�Maestro.Geoff Levin:�Triloquist�•�The�Rat�Thing�•�Agenda�•�The�Fallen.James S. Levine:�Otis.Michael A. Levine:�Columbus�Day.Krishna Levy:�Le�nouveau�protocole.Gary Lionelli:�Oswald’s�Ghost.Jason & Nolan Livesay:�Bounty�•�Limbo�Lounge�•�Little�Iron�Men.Andrew Lockington:�Step�•�Journey�3-D�•�One�Week.

Henning Lohner:�Kleiner�Dodo�•�Love�Comes�Lately.Helen Jane Long:�Surveillance.Erik Lundborg:�Absolute�Trust.Daniele Luppi:�Hell�Ride.Deborah Lurie:�Spring�Breakdown.Vivek Maddala:�They�Turned�Our�Desert�Into�Fire.Nuno Malo:�Mr.�Hobb’s�House.Mark Mancina:�Sheepish�•�Camille�•�With-out�a�Badge�•�Like�Dandelion�Dust.Aram Mandossian:�The�Last�Resort.Harry Manfredini:�Black�Friday�•�iMurders�•�Impulse�•�Anna�Nicole�•�Dead�and�Gone.David Mansfield:�Then�She�Found�Me�•�The�Guitar.Kevin Manthei:�Batman�-�Gotham�Knight�(co-composer).Dario Marianelli:�Far�North�•�Hippie�Hippie�Shake�•�The�Soloist.Anthony Marinelli:�Grizzly�Park.Gary Marlowe:�Los�Pereyra�•�Das�echo�der�Schuld.Phil Marshall: Live.Richard Marvin: The�Narrows�•�Dead�Like�Me�•�Picture�This!�•�A�Fork�in�the�Road.John McCarthy:�The�Stone�Angel.Bear McCreary:�Rest�Stop�2.Don McGlashan:�Dean�Spanley.Joel McNeely:�The�Tinkerbell�Movie.Nathaniel Mechaly:�Taken�•�Dorothy�Mills.Matt Messina:�The�Least�of�These.Guy Michelmore:�Doctor�Strange�•�Bono,�Bob,�Brian�and�Me.Randy Miller:�Last�Time�Forever�•�Shanghai�Red�•�Second�Chance�Season.Robert Miller:�The�Key�Man�•�Trumbo�•�On�the�Hook�•�Wherever�You�Are.Angelo Milli:�Máncora�•�Paraiso�Travel.Sheldon Mirowitz:�Renewal�•�Operation�Filmmaker.Richard G. Mitchell: Almost�Heaven.Charlie Mole:�Fade�to�Black�•�I�Really�Hate�My�Job�•�St.�Trinian’s.John Morgan:�The�Opposite�Day�(co-composer).Paul Leonard-Morgan:�Popcorn.Trevor Morris:�Matching�Blue�•�Krews.Mark Mothersbaugh:�Quid�Pro�Quo�•�Cloudy�with�a�Chance�of�Meatballs.Hélène Muddiman: Skin.Sean Murray:�The�Lost�•�Clean�Break.Peter Nashel:�Carriers.Javier Navarrete:�Mirrors�•�Inkheart�•�Fireflies�in�the�Garden.Blake Neely:�Elvis�and�Anabelle�•�The�Great�Buck�Howard�•�Surfer�Dude.Roger Neill:�Take�•�Scar.Joey Newman:�Safe�Harbour.Randy Newman:�Leatherheads�•�The�Frog�Princess.Thomas Newman:�Nothing�Is�Private�•�Wall-E�•�Revolutionary�Road.David James Nielsen:�Reclaiming�the�Blade.Stefan Nilsson:�Heaven’s�Heart.Marinho Nobre:�Left�for�Dead.Adam Nordén:�Everybody’s�Dancing�•�Wolf�•�De�Gales�hus.Julian Nott: Heavy�Petting.Paul Oakenfold:�Victims.Dean Ogden:�Oranges�•�Knuckle�Draggers�•�A�Perfect�Season�•�The�Sensei.

John Ottman:�Valkyrie.John Paesano:�Shamrock�Boy.Heitor Pereira:�The�Canyon�•�Running�the�Sahara�•�South�of�the�Border.Mark Petrie:�The�Road�to�Empire�•�Valley�of�Angels�•�Farmhouse.Barrington Pheloung: Incendiary.Leigh Phillips:�War�Made�Easy�•�Still�Life.Martin Phipps: Grow�Your�Own.Nicholas Pike:�It’s�Alive�•�Parasomnia.Nicola Piovani:�Odette�Toulemonde.Douglas Pipes:�Trick�r’�Treat�•�City�of�Ember.Conrad Pope:�In�My�Sleep.Steve Porcaro:�The�Wizard�of�Gore�•�Cougar�Club.John Powell:�Horton�Hears�a�Who�•�Han-cock�•�Stop�Loss�•�Bolt.Michael Price:�Sugarhouse�Lane�•�Agent�Crush�•�Wild�Girl.Trevor Rabin:�Get�Smart.Didier Lean Rachou: An�American�in�China.Brian Ralston:�Graduation�•�9/Tenths.Jasper Randall:�The�Secrets�of�Jonathan�Sperry.Joe Renzetti:�39�•�Universal�Signs.Graeme Revell:�Pineapple�Express�•�Days�of�Wrath�•�The�Ruins�•�Street�Kings.Graham Reynolds:�I’ll�Come�Running.Zacarías M. de la Riva:�The�Last�of�the�Just�•�The�Anarchist’s�Wife�•�Carmo.Carmen Rizzo:�The�Power�of�the�Game.David Robbins:�War,�Inc.�•�The�Dot�Man.Matt Robertson:�The�Forest.Douglas Romayne:�In�Zer0:�Fragile�Wings.Philippe Rombi: Bienvenue�chez�les�Ch’tis.Brett Rosenberg: The�Skeptic.William Ross: Our�Lady�of�Victory.Laura Rossi: The�Cottage.David Glen Russell:�Contamination.Hitoshi Sakamoto:�Romeo�x�Juliet.H. Scott Salinas:�Strictly�Sexual�•�What�We�Did�on�Our�Holidays.Anton Sanko:�Life�in�Flight.Gustavo Santaolalla:�I�Come�With�the�Rain�•�On�the�Road.Brian Satterwhite:�Cowboy�Smoke�•�Maidenhead.Mark Sayfritz:�Sake�•�The�Shepherd.Brad Sayles:�The�Bracelet�of�Bordeaux.Dominik Scherrer: Good�Morning�Heart-ache.Misha Segal:�Lost�at�War�•�Shabat�Shalom�Maradona.Marc Shaiman: Slammer.Theodore Shapiro:�The�Mysteries�of�Pittsburgh�•�The�Girl�in�the�Park�•�Semi-Pro�•�Tropic�Thunder�•�Nowhereland�•�Marley�&�Me.George Shaw:�Victim�•�Sailfish.Edward Shearmur:�Passengers�•�Bill�•�College�Road�Trip�•�Righteous�Kill.Ryan Shore:�Numb�•�Jack�Brooks�–�Mon-ster�Slayer�•�Shadows.Vince Sievers:�The�Source.Carlo Siliotto:�La�Misma�Luna�•�The�Ra-men�Girl.Alan Silvestri:�G.I.�Joe�•�A�Christmas�Carol.Emilie Simon:�Survivre�avec�les�loups.Marcus Sjöwall:�Dreamkiller.Cezary Skubiszewski:�Death�Defying�Acts�•�Disgrace.Damion Smith:�Stompin.

Mark Snow:�The�X-Files�2.Jason Solowsky:�L.A�Takedown�•�Straw-berries�For�The�Homeless�•�Tamales�And�Gumbo�•�The�Sweep�•�Exodus?Maarten Spruijt:�The�Seven�of�Daran�-�Battle�of�Pareo�Rock.Marc Streitenfeld:�Body�of�Lies.William T. Stromberg:�TV�Virus�•�Army�of�the�Dead�•�The�Opposite�Day�(co-com-poser).Johan Söderqvist:�Walk�the�Talk�•�Let�the�Right�One�In�•�The�Invisible.Joby Talbot: Son�of�Rambow.Frédéric Talgorn:�Hexe�Lilli.Mark Thomas:�Tales�of�the�Riverbank.tomandandy: The�Koi�Keeper.John van Tongeren:�War�Games�2�-�The�Dead�Code.Pinar Toprak: Blue�World�•�Dark�Castle�•�Serbian�Scars�•�Say�It�In�Russian�•�Ocean�of�Pearls.David Torn:�The�Wackness.Jeff Toyne:�Within�•�Late�in�the�Game.Michael Tremante:�If�I�Didn’t�Care.Ernest Troost:�Crashing.Tom Tykwer:�The�International�(co-com-poser).Brian Tyler: The�Heaven�Project.Shigeru Umebayashi:�A�Simple�Love�Story�•�Absurdistan.Cris Velasco:�Prep�School.Fernando Velázquez:�Shiver.James L. Venable:�Superhero�Movie.Reinhardt Wagner:�Faubourg�36.Michael Wandmacher:�Train�•�Never�Back�Down.Stephen Warbeck:�Flawless�•�The�Box�Collector.Matthias Weber:�Silent�Rhythm.Craig Wedren:�Little�Big�Men.Richard Wells:�The�Mutant�Chronicles.Cody Westheimer:�Benny�Bliss�and�the�Disciples�of�Greatness�•�Hysteria.Alan Williams:�For�the�Love�of�a�Dog�•�Act�Your�Age�•�Snow�Princess�•�He�Love�Her,�She�Loves�Him�Not�•�The�Velveteen�Rabbit.David Williams:�The�Conjuring.John Williams:�Indiana�Jones�and�the�Kingdom�of�the�Crystal�Skull�•�Lincoln.Patrick Williams: Mikey�and�Dolores.Tim Williams:�The�Passage�•�Star�Crossed.Austin Wintory:�Captain�Abu�Raed�•�Mr.�Sadman�•�Grace.Debbie Wiseman:�Amusement�•�The�Hide.Chris Wood: Zombies�Ate�My�Prom�Date.Lyle Workman: Forgetting�Sarah�Marshall.Alex Wurman:�Five�Dollars�a�Day�•�The�Promotion.Gabriel Yared:�Manolete�•�The�No.�1�Ladies�Detective�Agency�•�Adam�Resurrected.Christopher Young:�Sleepwalking�•�A�Tale�of�Two�Sisters.Geoff Zanelli:�Delgo�•�Outlander�•�Ghost�Town.Marcelo Zarvos: What�Just�Happened?Aaron Zigman:�Lake�City�•�Meet�the�Browns�•�Flash�of�Genius�•�Blue�Powder.Hans Zimmer:�Frost/Nixon�•�Casi�Divas�•�Kung�Fu�Panda�•�The�Dark�Knight�(co-composer).Atli Örvarsson:�Vantage�Point�•�Babylon�A.D.

Film Music Weekly’s “The Scoreboard” only lists scoring assignments that have been confirmed to us by official sources. The list is limited to feature film scoring assignments. New additions are highlighted in red print.

6� ISSUE�53�•�MARCH�4,�2008 weeklyFILM MUSIC

NEW TECHNOLOGY | NEW HARDWARE | NEW SOFTWARE | NEW BUSINESS SK ILLS | NEW BUSINESS MODELS

SATURDAY, FEBRUARY 16Breaking into Film Composing in the Changing Face of HollywoodInstructor: Film & TV Music Agent Linda KordekThis new all-day exclusive course describes, in detail, how composers and songwriters can use the same techniques longtime agents use to open doors, get music listened to, and get paying work in film and television music. Learn what has traditionally worked and what to expect in the changing world of “convergence” and strikes. The course will cover areas including identifying prospects, approaching decision makers/net-working skills, the submission process and your demo package - what to send, what not to send, the negotia-tion process, the financial aspects, closing the deal and working in the new paradigm.

SATURDAY, MARCH 1The Working Film & TV ComposerInstructor: Film & TV Composer Shawn ClementThis course will benefit composers who are working or studying to work in the film, television or videogame music industry, and provides in-depth, hands-on knowledge about how to successfully work as a composer including detailed looks at the art, craft, technology and business issues critical to a successful career working as a film, television or videogame composer today. From streamlining your studio to making new business contacts, getting work and building a career, this course covers what composers need to know.

SATURDAY, MARCH 8Understanding and Maximizing your ASCAP, BMI and SESAC Royalties Instructor: Performing Rights Author and Composer Mark HoldenThis one-day seminar by veteran per-forming rights journalist and composer Mark Holden provides an in-depth look at how performing rights royalties are paid and how composers and

songwriters can maximize their royalty income. The course will cover topics including how the performing rights system works and the role of perform-ing rights organizations (PROs), choosing a PRO, pros and cons of ASCAP, BMI and SESAC, the process of registering your works and filing cue sheets, music usage categories, payment rates, and more.

SATURDAY, MARCH 15Conducting Film Music Recording SessionsInstructor: Orchestrator, Copyist and Author Ron HessConductor and orchestrator Ron Hess teaches all the basic and not-so-basic conducting skills composers will need in order to take control of a film scor-ing session and competently conduct ensembles ranging from small groups to large orchestras. The course will include participants conducting a live musician. Among the topics covered will be workable beat patterns, saving effort by cuing within the beat pattern, developing left/right arm indepen-dence, visual telegraphing of important score elements, mental approaches so you can control your ensemble (and not vice-versa!), eliminating counterproductive elements in your conducting, replacing time-consum-ing verbosity with gestures that work, sight conducting, and session strategy.

SATURDAY, MARCH 29 Basic Engineering for ComposersInstructor: Film & TV Scoring Mixer Michael SternVeteran scoring mixer Mike Stern dis-cusses and demonstrates a variety of important engineering techniques that can be used by any composer to make their mixes sound better. These basic techniques can be accomplished with most DAW and digital editing software that will be used during the course to demonstrate the engineering tech-niques for composers. Mike will also discuss advantages of different digital editing software for composers and will discuss plugins, mixers and other outboard equipment.

SATURDAY, APRIL 5The New Music EditorInstructor: Film & TV Music Editor Christine LuethjeMusic Editors are the ultimate conduit between the Director/Producer and the Music Department. At any point in the process this position can have a significant amount of influence on who is hired, which songs are used, and how the royalty generating cue sheets are reported. Usually working for no less than 5 people per project, the music editor directly contributes to the efficiency of each project’s work flow while managing an often heavy editing work load. Areas covered in the course include spotting music meetings that are music efficient, the influence behind tracking music, temp scores, and music libraries, tips and tricks for cutting songs and licensing responsibilities, support and strengthen the scoring session, bullet proof the final dub: delivery specs and protocols, cue sheets that protect performing rights royalties, deal memos that safeguard the creative process, and how to employ digital transfer technologies for improved work flow. Handouts, demonstrations, and examples will be provided.

SATURDAY, APRIL 19Scoring Reality TelevisionInstructor: Film & TV Composer Shawn ClementAn in-depth look at the day-to-day work of scoring top reality shows from a working composer’s point of view. The course will focus on the art, craft, business and technology of this boom-ing area of television programming including how jobs are won, the use of library vs. custom scored music, unique scoring challenges (artistic issues), logistical issues including turnaround time, examples of good reality scoring, where the reality tele-vision marketplace is headed, political issues, and budgets and the use of live musicians.

SATURDAY, APRIL 26Creating Great Film & TV Scores and Parts with FinaleInstructor: Orchestrator, Copyist and Author Ron HessVeteran Finale pro and orchestrator Ron Hess provides an in-depth look at how composers can quickly and effectively use Finale for score and part preparation. Special emphasis is placed on working efficiently with Finale and creating parts that are easy to sight-read. Whether you’ve worked with Finale for years or are new to the product, learn tips, tricks and intelligent strategies at this focused course designed to enable composers to embark on the path to mastering this powerful tool. Areas covered in the course include: approaches to being the master and Finale the slave (instead of vice-versa), extending Finale’s capabilities through the use of internal and external macros, saving time & effort by building good templates, batch-processing through the use of Finalescript, a look at the future of computer notation: touch-type input of scores, making sense of the recent score/part linkage features, really cool, but undocumented, Finale capabilities, and customizing finale to achieve your own distinctive nota-tional style.

SATURDAY, MAY 3The Art of the DealInstructor: Film & TV Music Agent Jeff KaufmanThis course will benefit those who are already working or are seeking to work as a film and television com-poser, film music agent or manager. This course takes a comprehensive look at the role of the film and televi-sion music agent, and how composers can effectively function as their own agent if they do not yet have an agent handling their careers. The course is also designed to benefit those who are considering a career as and agent or manager for film and television music.

It’s A New World Out There...

w w w . f i l m m u s i c i n s t i t u t e . c o m

F I L M M U S I C I N S T I T U T E S P R I N G 2 0 0 8 C O U R S E S

ISSUE�53�•�MARCH�4,�2008� 7weeklyFILM MUSIC

Title: Be Kind Rewind Composer: Jean-Michel Bernard Label: Lakeshore RecordsSuggested Retail Price: $14.97 Grade: B+

There’s a fun, funky throwback appeal to Be Kind Rewind, beginning with its

central conceit of a video store that still caries VHS tapes – a format that now seems right at home with such other antiques as eight-track cassettes, disco shoes, bell bottom pants and HD-DVD players. Yet there’s still something that’s cool about a worn VHS movie, a raggedy retro vibe that’s right in line with Jean-Michel Bernard’s nutty score for this purpose-fully unslick flick. Be Kind Rewind marks Bernard’s second score for director Michael Gondry after The Science Of Sleep. And while his soundtrack was easily the best thing about that artsy-fartsy mess, Gondry is doing an infinitely better job here. And his unpreten-tious grip on Rewind’s wonderfully ridiculous imagery at last lets score and storytelling fit snugly.

This is a lark of a score – most of which could easily be playing over an episode of “Good Times.” And that 70’s retro jazz-funk approach works just fine for a film that’s set in the decaying, ethnically mixed urban envi-rons of Passaic, New Jersey. Here the biggest arguments are about which erased tape gets a “Sweded” remake next, and Bernard plays the unity of movie love with a bouncy, small funk ensemble. It’s a clever and inventive approach for two goofs who attempt 2001 in a junkyard, with a raw sound that comes across as being professional and homemade at once – just like Be Kind Rewind itself.

But funk is certainly not the only thing

that Jean-Michel Bernard has going on here. And when he plays the “drama” of having an entire store’s worth of movies getting wiped out, he uses frantic strings and harp glis-sandi for the Three Stooges-like antics, with a full orchestra then jumping in to pump up the insanity with jazz, organ and an ersatz Theremin. This stuff seems better suited for Psycho or Night Of The Living Dead. And while it still sounds kinda neat for an album listen, Bernard’s approach in these scenes just about overpowers Rewind. For while a composer like Jon Brion can get away with this kind of stuff in a similarly skewed movie like I Heart Huckabees, Bernard’s playing-against-screwball is way too excited, or pokey for its own good.

Thankfully, this particular orchestral stuff is about the only thing about Rewind’s music that doesn’t really come off. Far funnier are his goofs on the soundtracks of the movies the characters are “Sweding,” especially a spot-on tribute to Lalo Schifrin’s Kung-Fu stylings when the lads attempt Rush Hour 2. When they tape a hopeless live-action Lion King, Bernard breaks out Reggae vocalese. And more often than not, his movie score goofs have nothing to do with the music that was on the likes of Robocop or Driving Miss Daisy, which get hilariously spun through his thematic 70’s funk machine here. But Bernard is also smart enough to play some real emo-tion as well, especially in his restrained solo piano for “Solitude,” its melodic beauty at its

simple best. Though Rewind’s obsession with old-time

jazz never quite gels with the satirical movie stuff, it does add another level of pleasant eccentricity to the score. Especially nice are Bernard’s salutes to “Lulu’s Back in Town” (played by the Passaic High School Marching Band), or having Mos Def spin out “I Ain’t Got Nobody” and “Ain’t Misbehavin’” to the accompaniment of an electric organ. Even Fats himself appears for “Swing Low Sweet Chariot” and “Your Feets Too Big.” But if there’s a tuneful highlight here, it’s Bernard’s own “Mr. Fletcher’s Song,” a beautifully mov-ing number that sums up the characters’ fond goodbye to their moment in the VHS sun. As Bernard puts his heart into this number, he conjures Tom Waits at his melancholy best.

Like The Science Of Sleep, Jean-Michel Bernard has a real talent for creating music that takes place in its own, crazily beautiful world. And at its best, his work on Be Kind Rewind turns the joy of moviemaking into a funkadelic trip to Oz, which just happens to reside in Passaic – a place that’s never sound-ed so wide-open with eccentrically melodic possibilities. n

CD REVIEW by DANIEL SCHWEIGERdschweiger@filmmusicweekly.com

Jean-Michel Bernard gives “Sweded” videos the Fats Waller funk

GET THE CD HERE: •www.amazon.com

8� ISSUE�53�•�MARCH�4,�2008 weeklyFILM MUSIC

ISSUE�53�•�MARCH�4,�2008� 9weeklyFILM MUSIC

THE CHART DOCTOR by RON HESSrhess@filmmusicweekly.com

When And Where To Optimize

In response to several readers’ inquiries, this week we will examine the topic of optimiza-

tion in the recording environment. Optimizing is a proprietary term (first coined by Finale) referring to the elimination of empty staves on a score or part to save space. As usual, the de-fault settings with most software packages let you do the deed, but offer no practical wisdom as to where or when you should do it.

There are enough competing factors in that decision that a direct flow chart is impossible. So let’s just address them individually and leave it to you to weigh their relative impor-tance. For instance, you’ve all seen symphonic scores that were optimized for minimum page count. With their radically variable system sizes, they save pages, but they’re a studio no-no. Sight-conductors follow the action much more easily if they don’t have to bounce all over the real estate looking for the third horn part. And what if he has to scribble something in a vacant stave? “No-can-do” if there aren’t any.

What, then, are the potent “where and when” factors for parts, usually strings and percussion? It can be a very complex issue. With respect to string parts (particularly vio-lins), if your ensemble is likely to be symphony players, don’t optimize; stay within their com-fort zone and give them separate 1st and 2nd parts and watch the page turns. In the studio (our primary focus here at FMW), the over-arching priority is (all together now) perfect read-throughs (with a smattering of flexibility). From that angle, weigh every factor carefully in terms of how optimizing will contribute to, or work against, an effortless session. Here are the issues worth considering:

*Fewer (rather than more) shifts from one type of system to another (i.e. single-stave to triple- or double-stave). The more you make the players’ eyes dance, the greater the chance that they will eventually mis-step and land on the wrong system.*Double-stave systems are more difficult

to sight-read than single-stave ones. Most monophonic instrumentalists are more ac-customed to single-stave reading, pure and simple. Try reading text and skip every other line to see what I mean.*Fewer page turns. Every one carries the risk of a take-blowing room noise.*Page turns following multimeasure rests. Slow, relaxed page turns tend to be quieter ones.*Potential need for flexibility in reassign-ing players. A common studio occurrence, especially with strings, it’s far easier and faster to have some players play a different line (2nds joining 1sts in bars 19-26, for instance) if they still have both lines on their page. *Need for space left to allow for penciled-in additions or figures during session. Extreme optimization may leave no room for emergency mid-session pencil edits by players.*Save pages, therefore $$$$$. Most music prep and all repro are done at a page rate. Shorter parts = fewer pages = less repro = smaller prep budget = happier client (as long as the session is still accomplished with max efficiency).

These considerations may seem contradic-tory, but that’s the gig. Do your best. When you do elect to optimize, however, try the fol-lowing strategy:

*Finalize page layout first! Arrange your bars/system scheme for best effect. Take careful stock of which bars/staves will be consolidated/eliminated and arrange them to best advantage (end, middle, or begin-ning of system). Changing your layout “post-optimization” can lead to a dangerous loop of doing and undoing your optimiza-tion to pull it off, possibly leaving some-thing missing.*Consolidate instrument assignments to fit

on smallest number of staves. Similar to a jigsaw puzzle, percussion parts usually have one best arrangement of instrument entrances on the fewest staves. *Clear out redundant sets of notes.*Optimize empty staves away.*Label the beginnings of systems where there is ambiguity. Especially for percus-sion, where instrument assignments can float from stave to stave, labels prevent questions. (Not to be confused with system name labels which, if they appear at all, are in the left margin.)

In doing your optimization here are some points to remember:

*Remove any brackets from resultant single-stave systems if your software doesn’t do it for you. *Page turns on odd or right-hand pages (1,3, 5, etc.) *Keyboard parts are generally not opti-mized unless they are pretty much simple chord charts throughout. Harp parts never are. If your fiscal conscience bothers you regarding keyboard/harp parts that are a bazillion pages long, compact them some-what (more bars or longer multi-measure rests per stave for simpler content to save pages and/or page turns, within reason).

This should get you started. If you are ear-nest, you will no doubt uncover other problem-atic situations, so don’t be timid. You knew this job was dangerous when you took it.

n Ron Hess works as a studio conductor, orchestrator, copyist and score supervisor in Los Angeles, where he’s well-known for his quick ability to ferret out the most hid-den performance problems and spot score glitches rapidly. He holds a Master’s Degree from the New England Con-servatory, and is considered one of the top Finale experts in Los Angeles. Email your questions to Ron at rhess@filmmusicweekly.com

10� ISSUE�53�•�MARCH�4,�2008 weeklyFILM MUSIC

I would highly recommend this book to any student or working professional wishing

to learn or expand their knowledge of orchestration. If you intend to work

professionally the skills imparted by the studies presented here will be of enormous

benefit and will give you a professional advantage for your entire career.

Garry SchymanBioShock

Professional Orchestration 2A: Orchestrating the Melody Within the String Section is a hit.

NOW SHIPPING! Order now at www.truespec.com

A great publication! You perfectly met the needs of so many musicians - it's an incredibly valuable source of knowledge! I like also very much its clear structure and the way you explain complex things. A "must" not only for students, but for every musician dealing with samples and "orchestral sound".

Peter SiedlaczekAdvanced OrchestraClassical ChoirsString Essentials 2

The new book is amazing! It builds on the first book by adding more explanations, MIDI programming advice and film scoring concerns. I can't imagine a more exhaustive study or more organized collection of string writing. You can pre-charge my card for books 2B through 8.

Jeff Laity

Marketing Manager TASCAM

ISSUE�53�•�MARCH�4,�2008� 11weeklyFILM MUSIC

MUSIC TECHNOLOGY by PETER LAWRENCE ALEXANDERpalexander@filmmusicweekly.com

E-MU PM5 and the PS 12 SubwoofersI agreed to review the E-MU PM5 monitors

because the folks at E-MU stopped short of swearing on their mother’s Sunday chicken that these monitors, at $498 per pair (street price), were the equal of a $2,000 pair of Genelecs. To enhance the claim, I was also sent two (2) PS 12 subwoofers (one per monitor).

With the Super Bowl over with, and the stock market being where it is, I took the bait. To establish this, I’m doing the exact same test as I did with the KRK VX8 monitors.

General Specs

Drivers High Frequency: Type: Neodymium Soft Dome Size: 25.4mm (1”)Low-Frequency: Type: Glass Fiber ConeSize: 127mm (5”)Dimensions Height: 290mm (11.5”)Width: 175mm (6.9”)Depth: 245mm (9.7”)Weight 6.5kg (14.3lbs)Power 120V, 60HzCrossover NetworkType Active second-order ButterworthInput 1: XLR female balancedInput 2: 1/4” Jack socket balancedInput 3: RCA unbalanced

Setup

Normally I don’t praise manuals. This one I will. Even pros appreciate simplicity. The PM5 graphics are very much USA Today-like telling you in one graphic what you need to know. There are four setup pictures:

pair only•pair plus one subwoofer•pair plus two subwoofers•5.1 Surround •

Setting up the volume and other controls on the back were more difficult. Even with bright lights, we needed a flashlight (torch for UK readers) to clearly read the settings.

Setting up the PS12 subwoofer is a differ-ent story. Unless you’re really adept at this, plan for 1-2 hours to get the PS12 situated and operating properly.

Negatives

On the PM5s, the power light is a very bright blue that at ear level is really discon-certing to the eye. Again, as one reviewer wrote at online store, it’s a hot look. I don’t minimize that. But for all day use, I’d find that light in my eye really distractive.

With the PS12, the on light is on the back of the unit. With the PM5s, the on light lets you know if you’re clipping. With the on light in the rear of the PS12, there’s no way to know.

Audio Setup

We set up an AB test between the KRK VXT8s and the E-MU PM5s plus the PS12 subwoofer with audio routed from Logic 8 through an RME Fireface 800. On one hand, this may not seem to be a fair comparison because of the size difference between the two monitor systems (by specs, the KRK VZT4s are the more direct comparison). And we took that into account. The size we really took into account was money.

As an overall summary, the E-MU PM5s have a sweet sound in the midrange through highs, but barely have a bass presence. To get the bass, you need the PS12 subwoofer. Add $500. So, for $1,000 plus shipping you can have a pair of PM5s and a really needed subwoofer, or you can get a pair of KRK VXT8s for $200 more. If you add in a second PS12 subwoofer that’s $1,500, $300 more than the pair of KRK VXT8s.

Where the PM5s are small and lightweight at 14 lbs per monitor (see stats above), the subwoofer is huge! It takes Man Mountain Dean to move the thing (45 lbs per PS12 subwoofer!).

The space requirements are a big issue when you add in the PS12 subwoofer as you will have to do a lot of experimenting to get the right sound. And this means getting the 3 speakers situated properly in your studio.

For setup, one place I fault the PS12 manual is the writer’s expectation that the purchaser, whether pro or pro-sumer, is an audiophile and understands technical jargon. Bad assumption.

PS12 Stats

The E-MU PS12 Precision Subwoofer is a powered front-firing subwoofer with a 12” speaker driven by a custom 200W amplifier.

For creating the smoothest possible cross-over between the subwoofer and your satellite speakers, the PS12 features fully customizable filter controls, including a low-pass filter on the subwoofer signal and a high-pass filter on the satellite output signal.

(Continued pg 12)

12� ISSUE�53�•�MARCH�4,�2008 weeklyFILM MUSIC

MUSIC TECHNOLOGYOther key features include:

•Extremelycompact,sealed-cabinetdesign•Linearfrequencyresponsedownto22Hz•VariablesubwooferLevelandPhasecontrol(0to180degrees)•SubsonicRumbleFilter•Built-inOverloadProtection•BalancedandUnbalancedInputsandOutputs•Subwooferbypass(satellitepass-through)footswitchinput•Automatic15-minutelow-powerStandbymodeSelectable 100-120V / 220-240V Operation

E-MU PM5 and the PS 12 Subwoofers (continued from pg 11)

Listening Observations

My perspective here is that when comparing speakers, you compare with what you have. For me, the difference in sound between the VXT8s and the PM5s is quite distinct. You can learn to mix on any pair of speak-ers. The PM5, I feel is very strong in the midrange and highs. The Vienna Appassionata Strings had a beautiful recorded sound to them. Lush sound-ing would be a good descriptor. But when I compared it to the VXT8s, I was startled as to how drastically different they sounded. They didn’t sound lush. They sounded like a totally different string library. After a while, you start to wonder, what do my samples really sound like?

FM sounding keyboards from SONiVOX’s Muse also were quite good.

In looking at the specs, and without hearing them in combination, you need the PS12, especially for orchestral work. The bottom range of the PM5 is 67Hz. This means you’re losing the bottom octaves of the Piano, Harp, Bass, Contrabassoon and part of the lower Tuba range.

After listening to both, there’s no question that if you’re doing any kind of orchestral work, you need at least the one PS12 to bring in the basses. It would be even better to get the recommended two PS12s, one for each PM5.

Comparing the frequency range, with the KRK VXT8s, you only lose a touch of bottom on the Harp and Contrabassoon. In fairness, I checked the specs of the VXT line. KRK VXT4s are directly comparable to the E-MU PM5s.

But to get a comparable frequency range to the KRK VXT8s, there’s no option, you have to get a pair of the PM5s and at least one PS12. Even then, when comparing back and forth, for mixing, I think the edge has to go to the VXT8s.

The dollars support my observation. To get the frequency range needed for orchestral, you’ll need a pair of PM5s and at least one PS12 – that’s $1,000. For $200 more, you can get the VXT8s. If you buy the second PS12, you’re now spending more than the KRKs and unless you have a spacious studio, I’m not sure you’re ahead of the game.

What To Do

Overall, the PM5s are good-sounding speakers. My concern is that the lack of low end means that as we used to do with the NS10s, you’d com-pensate for the bass, make a cassette (or CD), run out to the card and drive while you listened to the cut. If you’re not doing a film, you can do that. If you’re doing film/TV, you don’t have the time to do that anymore. The dead-lines and the budgets are way too tight.

So if you’re just writing for yourself, or you’re not in a time crunch, then by all means, get out and do a demo with the PM5s first, then with the PS12 added in. But for $500 to $1,000 for monitors, I’d take my time in looking. There are a lot of monitors out there.

For full disclosure, Peter Alexander co-produced the E-MU Modern Symphonic Orchestra library. n Peter Alexander is the author of the critically acclaimed Professional Orchestration 2A: Orchestrating the Melody Within the String Section, How Ravel Orchestrated: Mother Goose Suite, and Writing and Performing Christian Music: God’s Plan and Purpose for the Church. You can write him at peter@filmmusicweekly.com.

ISSUE�53�•�MARCH�4,�2008� 13weeklyFILM MUSIC

MUSIC WANTEDCurrent Film & TV Music Job Listings

From The Film Music NetworkONLINE MUSIC LIBRARY SEEKSINSTRUMENTAL TRACKS Very well established online music library seeks mas-ter quality instrumental music of many flavors and styles. Mixes must be outstanding. 50/50 sync split and writers keep 100% of writer share of performance royalties.

INDIE FEATURE SEEKS CONTEMPORARY COUNTRY SONG W/VOCALSIndie low budget feature is seeking an upbeat country song with vocals, not melancholy, not alt-country or old school, but contemporary country style. Male or Female vocal OK.

INSTRUMENTAL SCI-FI MUSIC NEEDED FOR SHORT FEATURE Top NYC based film school seeks music or composer immediately for a science-fiction oriented short feature about a man and woman communicating tele-pathically, and the man has a split personality.

INTENSE INSTRUMENTAL MUSIC NEEDED FOR SHORT FEATURETop NYC based film school seeks music or composer immediately for a short feature about a a girl who fantasizes about a man, then at end discovers he is blind.

MUSIC LIBRARY SEEKS COMPOSERS IMMEDIATELY Hollywood based production music library is seeking composers to compose original rock tracks for upcom-ing CD releases.

PATRIOTIC PD MUSIC NEEDED FOR INDIE FEATURE FILMIndie feature filmmaker looking for recordings of patriotic public domain music. Music ideas include: Marine’s Hymn, William Tell Overture, Dixie, 1812 Overture, Stars and Stripes Forever, The Star Spangled Banner.

DC INDIE ROCK, HIP-HOP, GO-GO MUSIC NEEDED FOR FEATURE FILMIndependent feature film focusing on life in Wash-ington DC including racial and other tensions that 2 girls in DC deal with is seeking to license music for the film.

BLUES MUSIC NEEDED FOR DOCUMENTARY FEATUREBlues oriented “music bed” (no vocals, music that works as background music with picture) needed for documentary feature about a well-known Blues musi-cian’s trip to China to represent the U.S. at a music festival.

MUSIC LICENSING CO SEEKS INDIE MUSIC TO REPRESENTSan Francisco music licensing company is looking for good quality music from independent labels and art-ists to represent non-exclusively.

BOND-STYLE MUSIC NEEDED ASAP FOR POLITICAL COMEDY FEATUREFilmmaker seeking music in the vein of the original James Bond theme for a political comedy in the style of a Christopher Guest film.

SONGS W/VOCALS NEEDED IMMEDIATELY FOR FEATURE FILMSongs with vocals needed immediately for feature film about young people getting caught up in the Long Island legend of Mary Hatchet, so named, because she murdered her family with a hatchet.

LA FILM/TV COMPOSER SEEKS INTERNSVeteran LA composer seeks interns. Seeking people with experience with LOGIC and PRO TOOLS. Expe-rience with Filemaker Pro and Excel also helpful.

20TH CENTURY CLASSICAL MUSIC NEEDED FOR DOCUMENTARY FEATURE20th century classical music (1950s, 1960s) needed for documentary feature film about the architecture and the art forms of Frank Lloyd Wright.

SPANISH GUITAR MUSIC NEEDED FOR DOCUMENTARY ART FEATURE Spanish guitar music (real guitar, not synthesized/sam-pled) is needed immediately for a documentary art feature.

SENSITIVE 1980S MUSIC NEEDED FOR SHORT FEATURE Top NYC based film school seeks music or composer immediately for a short feature period film about a Jewish gay man who tells his grandmother about his being gay.

SONGS NEEDED IMMEDIATELY FOR MAJOR TV COMMERCIAL CAMPAIGNProduction company seeking songs immediately for a client doing a major television commercial campaign.

REGGAE, BLUES, ROCK/SALSA MUSIC AND COMPOSERS NEEDED BY PROD COIn house music library for feature film production company and TV network seeking new material for their publishing catalog for use in TV shows and made for TV movies Types of music: Reggae, Blues Guitar Rock (ala Stevie Ray Vaughn), and Rock/Salsa (Miami vibe).

COMPOSERS AND SONGS NEEDED FOR PROD CO/NETWORK LIBRARYIn house music library for feature film production company and TV network seeking new material for their publishing catalog for use in TV shows and made for TV movies.

PRODUCTION MUSIC LIB ISSUES OPEN CALL FOR COMPOSERS AND MUSICLeading online production music library in business since 1997 has issued an open call for composers and music for non-exclusive distribution.

COMPOSERS NEEDED FOR ORCHESTRAL FILM TRAILERSEstablished trailer music production company is seek-ing new orchestral composers and/or orchestral music to license for film trailers. Music must be appropri-ate for feature film trailers - powerful, big, dynamic, punchy, emotional.

The jobs listed above are currently listed as open and available on The Film Music Network Industry Job Board. To get more details and submit for any of these jobs, visit http://www.filmmusic.net and select the job from the open job listings on the site home page. To receive job listings by email, sign up for the Film Music JobWire at: http://www.filmmusic.net - locate “Join our Mailing List” on the left side column of the page.