#Animation composer 3 series

I absolutely LOVE channeling those dark, menacing vibes! I won’t lie, composing themes for villains is my absolute favorite part of what I do. To get these type of gritty, distorted sounds I employed many of the sound design and analog processing techniques and gear I used when I worked on the music for Doom Eternal The Ancient Gods. Kilg%re’s theme is pretty complex and features loads of cool rhythmic and synthetic elements (particularly in this iteration of it). This segment introduces you to the chord progression and primary melody.

#Animation composer 3 series

Here's the first installment of a two-part series on Kilg%re’s theme. #scoring #animationscore #comoposer #cello #studio #dccomics #roosterteeth #rwby #justiceleague Justice League x RWBY: Super Heroes and Huntsmen is now on (HBO) Max! To give foundation to the somewhat erratic vocal/percussion rhythms, I incorporated cellos, deep strings, and bass (synth), all of which play in 16th notes.įinally, on top of it all is a sweeping melody performed on the guitar and doubled with a synth. I ended up writing the entire cue around the vocal line, which is made up of samples that I chopped up and arranged into varying rhythms.įollowing that, I introduced intense percussion that mirrors the vocal patterns (video on that coming soon). I highly recommend doing that whenever possible.Ībout the cue: I wanted to do something unique and different for this action scene, as it’s pretty rare to see all those powerful women kicking ass alongside one another. I then combine these recordings with the usual orchestral sample libraries to infuse an unmatched realism into the soundtrack. I record the 'first chair' strings – including cello, viola, and both violin I and II – right here in my studio. In this video, you're witnessing a technique I frequently employ when scoring with strings. This scene from the Justice League x RWBY movie(s) remains one of my favorite action sequences to have worked on. I'll be delving into those parts in future videos. The subsequent part leans into the emotional, driven by a piano and strings, while the final part plunges straight into the realm of horror. This part is less melodic compared to the others, and its purpose is to mirror the Lantern's initial state of confusion and mounting anxiety. What you'll hear in this video is the first part, which features the unique sounds of a Tibetan Singing Bowl (heavily processed), a violin, a viola, a couple of (soft) synths, resonant percussive hits from a cello body (struck with a cello bow), and an array of bowed elements like cymbals, metal drum frames, and a (broken!) acoustic guitar. It was imperative that my composition served as a sonic reflection, an audible echo of her stunning performance.Ībout the musical cue: It is divided into three distinct parts. The rawness and intensity in her emotional expression stirred a profound response in me.

Thankfully, Jeannie Tirado's spectacular performance made my job easier! Watching her performance for the first time, I was immensely inspired.

The scene kicks off with an atmosphere of bewilderment and escalating anxiety, smoothly transitions into an emotionally intense segment, and finally crescendos into an horrifying climax.Ĭonveying such an extensive emotional spectrum within a single scene is quite difficult.

Composing for this particular scene was a ton of fun given the wide array of emotions it encompasses. In this video, you'll get a glimpse of a captivating segment from a significantly longer scene in the movie.