[Fmpro] Education & Guitar Rig 3

[Christopher Alpiar]

LOL so lame so lame... well stick it to em Adrian!

On Feb 21, 2008, at 12:27 PM, Adrian Ellis wrote:

> Hellos to All,
>
> On the subject of libraries/plugs:
>
> If any guitarists out there have not yet tried Native Instruments  
> Guitar Rig 3... well, you should - I think it might be 'The One'.   
> Simple case in point - the tube simulations actually push.  It's a  
> beautiful thing.  The sound is golden, creamy, and diverse.
>
> I've heard it from pianists that Ivory is 'The One' for pianos; head  
> and shoulders above the rest.
>
> On the subject of Education:
>
> I guess I'm still new enough to the game that I'm still shocked by  
> these kinds of posts:
>
> http://mandy.com/1/jobs3.cfm?v=26591995
>
> In a nutshell: Required is 45 minutes of Williams-esque fully  
> realized romantic orchestral score, 2 WEEKS MAX for completion, FOR  
> FREE.
>
> It's just insane.  I mean, beyond the normal contemptuous devaluing  
> of music, it just screams of a complete lack understanding of what  
> it takes (education, resource, time, effort) to create something  
> like this.
>
> I like David A. Roths general direction of education with a  
> filmmakers bent - ie: hey, it's all about you!  Forget us, but  
> please, don't ruin your film!  Valuing music means valuing your  
> film!!  I believe that the 'education' might need to be a bit  
> manipulative (in a good way) instead of a cuff on the hand, which no  
> one really responds to anyways.  If they can see that music is a  
> 'value added' situation, they'll find more motivation to pay for  
> it.  We don't want to demonize ourselves by attacking under-educated  
> filmmakers... they'll never listen.
>
> But in the meantime, we continue to squarely reject the above.  I'm  
> going to send an application for that Mandy post, and say "Your film  
> sounds interesting and I'd love to score it..." and then go on to  
> offer a market value indie-budget level price for an orchestral mock  
> up composed in that tight time frame, and all the reasons why it  
> would be worthwhile to pay that (including, keeping your composer  
> alive for the duration of creating the score).  I'll make it sound  
> friendly and informative, without being aggressive, condescending or  
> cynical.  We'll see what happens.  But, I believe motivating someone  
> to want to do something beneficial is more powerful than chastising  
> someone and trying to stop them from doing something wrong.
>
> Speaking of positive education, I recently took part in a wonderful  
> initiative made possible by the Guild of Canadian Film Composers.  5  
> emerging composers are paired with 5 emerging filmmakers who are in  
> the Canadian Film Center's short film program.  The pairs work  
> together to spot the filmmakers short exercise, and the final cue(s)  
> are performed and recorded by 25 piece orchestra in a professional  
> setting.  The filmmakers attend (which created a bit of a tense, but  
> realistic setting in the control room) and the whole exercise seemed  
> to work well to enhance awareness and appreciation for the work of  
> composers, and of course, the value of live music.  It was a very  
> positive experience for everyone, and I think it established great  
> relationships, and was educational in a very meaningful, immediate  
> way.  With the current status quo of very little real education in  
> film schools regarding music, I think this is a brilliant way to  
> make a very strong
> impression on new filmmakers.
>
> Thoughts?
>
> Adrian
>

Christopher Kennedy Alpiar
Cinematic Composer
www.alpiar.com