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Conversion Masterclasses 2014-08-18
August saw some exciting workshops at Conversion. Consisting of 3 sold-out sessions, Justin Sandercoe (justinguitar.com) and Hollywood Songwriting production team T.Y Songs, instructed interactive and creative experiences into both blues&major guitar tutorials, and the inner workings of songwriting for film and tv.

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Songwriting Masterclass 2014-08-18
LA based writer producers T.Y Songs, offer an insight into the inner workings of writing for and placing music in film & tv. This talented and diverse group also got an interactive experience into speed co-writing to brief, wrapping up with a group performance.

Expect more Masterclasses in the future at Conversion, so please drop us a line if you have specific interests. info(at)conversionstudios.co.uk.

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T.Y Songs & Bridgette Amofah 2014-08-09
LA based writer producers T.Y Songs get creative @ Conversion with Bridgette Amofah, currently on the road with Rudimental.

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Imogen Heap`s state-of-the-art wearable tech 2014-04-01
Imogen Heap`s state-of-the-art wearable tech lets you control sounds with your hands. Let`s change the way we make music!

The Opportunity: Forging a path into the future of Music The time has arrived! We are making the first Mi.Mu gloves available to people who want to work with us to shift the paradigm of how music is made and performed. This Kickstarter campaign has been designed to take us from where we are now, having created a self-funded, elaborate, and wildly successful gestural music system with and for Imogen Heap, to finalising a design that can be open-sourced, allowing everyone access to the power of glove.

What Exactly Can the Gloves Do? The gloves capture the movements and postures of your hands. Our software allows this information to be mapped to musical control messages which can then be easily routed to your favourite music software. READ MORE...

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We Came As Strangers - Back in the studio! 2014-01-23
We were delighted to welcome back We Came As Strangers to the studio for a great two weeks of writing and recording for their second album.
The creative collective, consisting of Justin Sandercoe, Ellem, Owen Thomas and Tim Harries came together once more for what turned into something very interesting - thanks to their varied influences and desire to think outside the box!
With mixing soon to take place in Los Angeles, we can look forward to a release in late spring.
For more information and album pre-orders check out the link:
http://www.justinguitar.com/en/WCAS-WeCameAsStrangers.php
And hit them up on Facebook for more session photos and regular updates :-)
https://www.facebook.com/WeCameAsStrangers/

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Film Music: John Debney on `Jobs` 2013-08-17
John Debney

How can you write music that captures the spirit of a man who has profoundly altered the way that we live and work? That was John Debney`s mission in scoring Jobs, the new biopic about Apple founder Steve Jobs. The Emmy-winning, Oscar-nominated composer wrote a sparkling score, thematically simple but emotionally complex. Put on your comfiest black turtleneck and read what Debney has to say about it. ********

What kind of research did you do while preparing to score Jobs?

I read as much as I could about Steve, books, interviews, etc., embarking on a personal mission to try and discover the emotional essence of who this guy was. Believe it or not, just hanging around in Apple stores helped me start to grasp the immense impact that Steve and his cohorts have had on all of us.

There`s such a wide-open, airy quality to your score. Did Apple`s design aesthetic influence your music at all?

I wanted to create a very organic score almost in counterpoint to the digital computer world. The score itself borrows from popular music of the different eras of Steve`s life. Sometimes ambient, sometimes almost operatic, I wanted to create a score that could not be pigeon-holed into any stylistic constraints.

For a film about a man who founded one of the biggest tech companies in the world, there`s very little in the way of electric or digital instruments. What`s behind the decision to score with mostly live/organic instruments?

I would say that it was my interpretation of Steve`s spirit put into music. Steve was an avid music fan with eclectic tastes. A big Dylan fan, jazz fan, Bach fan, Steve had a wide ranging variety of musical tastes. I felt my job was to express his life through the prism of music.

I hear a sitar poking through in a couple cues. Was that a little nod to Jobs`s time in India?

Good ears! Yes, not only a nod to his time in India, but also some of the sounds of the era. I wanted people to discover these little musical nods and have a smile or two about them. At the core, there is a childlike quality to Steve. He imagined things that could be and then tried to materialize them. Oft times he was dogged and difficult but he was also always focused on the ball. I find him to be a fascinating and complex guy and that was the challenge of writing the score for this film.

This is the second feature you`ve scored for Joshua Michael Stern. What`s unique about collaborating with him?

Josh is so passionate and collaborative - I love working with him. I`ll drop anything I`m doing to try and carve out adequate time for our work.

The argument could be made that Apple products have changed the way that listeners experience music. What about for the composer?

Well, composing has been changed in every way with the advent of technology. Apple products have mostly dominated the music business. I write on a Mac and all of my sounds live within its case, so you could say I`d be lost without some kind of Apple product. Steve, and by extension Apple, have had a profound effect on all aspects of music. The reality of the way music is shared and stored is completely different because of Steve and Apple.

So...what was in heavy rotation on your iPod while you were working on Jobs?

I have to be honest, it was talk radio most of the time. I was so immersed in the score that I mostly listened to talk radio while away from my work station.

You`ve been kind enough to donate your time to ASCAP educational programs and panels. What`s important to you about ASCAP`s mission?

I think that ASCAP does an amazing job fostering and mentoring young talent. It is an essential aspect of what ASCAP does, and I`m a huge supporter of the wonderful programs that ASCAP sponsors. ********

In equal demand for family films like Elf as he is for adventure films like Iron Man 2, Oscar-nominated composer John Debney is an agile jack-of-all-genres. He composes for comedies (Bruce Almighty), sci-fi action (Predators), horror (Dream House) and romance (Valentineís Day) with the same confidence and panache. Debney is also known for his work in such films as Princess Diaries, Liar Liar, Spy Kids, No Strings Attached, The Emperorís New Groove, I Know What You Did Last Summer and Hocus Pocus. Debneyís most recent work includes the Steve Jobs bio-drama Jobs and Brad Andersonís thriller The Call. Coming up for Debney is the drama Broken Horses.

Debney won his first Emmy in 1990 for the main theme for The Young Riders. Since then he has won three more Emmys (Sea Quest DSV) and been nominated for a total of six (most recently in 2012 for his work on the Kevin Costner western miniseries Hatfields & McCoys). His foray into video game scoringó2007ís Lairóresulted in a BAFTA nomination and a Best Video Game Score award from The International Film Music Critics Association. He was nominated by the Academy for his Passion of the Christ score (adapted into a symphony that had a live performance in Rome), and in 2005 he became the youngest-ever recipient of ASCAPís Henry Mancini Award.

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