Random Soundtracks

Ai for film soundtracks seem unnecessary.

I was talking online with a film-making friend about the time it takes to make an original score, and came up with a fun game where they sent me clips from previous works, along with a emotion they wanted it to evoke or a bit of soundtrack from another movie they wanted it to sound like, and I would send an original track back to them in ten to fifteen minutes – without using Ai.

These are some of those tracks.

Ambient with some orchestra

If you’re looking for a music for your film or project, I can produce background scores and songs within any budget, with quick turn-around times and easy changes, and I’m almost always, as my collaborators say, “a delight to work with.” (When you work with a wide variety of people, over the course of 25+ years, there will be a couple, shall we say, exceptions.)

While I do enjoy being inspired by mid-’70s electronic music, conceptual music, and the soundtracks of Tangerine Dream, Philip Glass, Wendy Carlos and Brian Eno, I do have experience in guitar-driven, less free-form styles: prog-rock, punk, new wave, Gothic rock. I also have access to a network of talented musicians that can cover an even wider spectrum of genres, but I’m not doing all that in less than 10 minutes.

Modern electronic chill.

I’m also influenced by John Williams; like I’m sure true for many people my age, the first thing I taught myself to play on a keyboard as a mere child was the theme from Close Encounters of the Third Kind. Wait, it might have been Jaws.

A “Generic Spy Theme” with an evolving big-band sound that was thrown together in less than an hour, just for fun. The bass is a bit sloppier than I wanted it. Sometimes when I swing, I miss.

I remember, years later, plunking away at a songbook of Henry Mancini themes, from Peter Gunn to Ripley’s Believe It or Not! which was one of my favorite collections of modern sheet music we had while I growing up.

Melancholy Sax solo with piano and synth accompaniment.

My workflow is inspired by Vangelis’s set-up for Chariots of Fire and Neil Young’s composing method on Jim Jarmusch’s Dead Man, but I record different improvisational takes until I run out of time, instead of only twice. This page is for what I do when I only had time for twice.

Some more music I made…

You can find even more of my music in this site’s music category.

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