As are probably many of you, I’m constantly improving my workflows and adjusting my templates. So far this has been a burdensome process, particularly in Cubase which offers practically nothing to manage templates, not even[…]
I don’t know how you spend your days, but for me this lockdown is not exactly a source of inspiration, so I asked on Twitter for suggestions what music to compose to lift my spirits.[…]
In 2019 YT has changed a lot about its policies. They are now much more strict and likely to ban videos if they seem to conflict with copyrights. That’s a problem when it comes to[…]
For musicians the search for the perfect reverb plug-in is like the quest for the holy grail. As I started out composing with samples I first used algorithmic reverb, then was the arrival of convolution[…]
It’s time for a tech update in context with a rehash of my “customer journey” through the world of sample libraries: I started out with samples in 2001 with Vienna Symphonic Library (then called “Opus[…]
This is my personal observations of music and score of 2019’s Aladdin in comparison with the 1993 version. I’ll tell you why I think – despite being an absolute fan of the original – that[…]
My 2019 released album Day of the Falcon is the result of another rescoring project, its object of course being the 1985 fantasy film Ladyhawke starring Michelle Pfeiffer, Rutger Hauer and Matthew Broderick. This project[…]
Recently I released my latest composition Don’t Forget My Name on streaming services worldwide. You probably think that the album title doesn’t matter too much. Well, that’s what I thought too. Let me tell you[…]
End Credits have become a rare thing in the world of film music. That’s why I pulled all the stops for this suite. Listen and read along! Especially because the story ends with[…]
