Member Since: 7/1/2005
Band Website: alihelnwein.com
Influences: ABOUT THE MUSIC:To aquire a unique sound I generally don't use purchased sample libraries. I would either record all the instruements (which one can do affordably if you have many friends who are musicians) or create my own sample libraries.For example, the piano on "Greed" and "Gluttony" is a very old, detuned piano from Ireland, which I used to record each note on a very low quality tape recorder. I then put it all in the computer and created a sample library out of it. Other sounds I sampled are random and percussive sounds, pizzicato violin and staccato violin, a music box, a toy piano, etc.I have gathered lots experience by playing in several different style bands and in an orchestra; working with top of the line studio musicians, engineers and recording studios; working with international film festivals; recording, mixing and mastering string sessions; training under composers such as David Campbell and the composers at Media Ventures; writing music for short films and commercials; and playing with the traditinal folk musicians of Ireland, but I'm always interested in learning more from different sources. On top of this I studied various musical styles, ranging from medieval, unaccompanied choral music, baroque counterpoint, the sonata forms of the classical and romantic times, modern film scoring, traditinal jazz, folk music, klezmer music and "Principles of Orchestration" by Korsakov.Since independent movies are gaining more and more popularity and a much bigger audience, the film scoring trends are changing along side of that. If you look at films from the middle of the the 20th century you'll hear a lot of full orchestral, gushy and more traditionally composed scores. Toward the end of the century music took a more simple and minimalistic (yet still fully orchestrated) turn -- playing on a film session for an earlier film composer such as Leonard Bernstein would have been technically a lot harder than playing on a modern film score such as something like the Lord of the Rings or Pearl Harbor score. Now it seems that more and more film scores have an unushual edge to them, incorporating bizzare sounds and instruments and experimenting even more with the combination of synthesized sounds and real instruments. This is what I'm trying to work on with my music, in order to create an atmosphere to scenes that haven't been fully explored so far.Music theory can weigh one down as much as it can help one, so let's not act like a bunch of clones and actually try to take the art of motion pictures to a different, yet aesthetic, level.
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