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VI interview 54 VIRTUAL INSTRUMENTS MIDI MOCKUP MICROSCOPE In this installment of our series on composers and how they did their MIDI programming, talented composer Nathan Furst discusses “Heart of the Baja Part 2” and “Shark Attack.” Download these cues at www.Virtual<strong>Instrument</strong>sMag.com and follow along. At only twenty-eight years old, Nathan Furst has already begun to carve out a niche for himself as one of Hollywood’s elite young composers. Nathan has developed a reputation for blending world instruments and electronica soundscapes seamlessly with the strength and elegance of a symphony orchestra. He has composed themes and underscores for over 20 film and television projects. This signature style has earned Nathan three nominations for his outstanding original film and television compositions. by Frederick Russ more online www.virtualinstrumentsmag.com Tell us about your rig and your sample libraries. That’s a crazy thing. It’s always in a state of flux. I envy the people who run out and buy, say, four or eight Vision computers [custom machines from www.VisionDAW.com] and then don’t touch their systems for another four years. I wish I could live like that. I can’t—it drives me insane. So it’s constantly changing. Currently I have just taken four computers out of rotation because they have been causing too many problems, or they don’t hold enough memory, or whatever it is. I just built three computers—myself actually. I went to Fry’s, bought a motherboard, bought a CPU, bought one of those metal rack chassis that look like the Vision computers, and just built it. So I have these three new machines. I’m currently starting a project, and I’m going to be using four PC farms, with a fifth that kind of floats in there if I need it. I have two G5 dual 2.0s. One of them I don’t use that much; it basically sits in the background as a potential node and a potential [Native <strong>Instrument</strong>s] Kontakt 2 secondary.
For the most part, it’s just sitting there as a back-up computer. I try to keep it as near to my original G5 as possible, so if my first G5 goes down I take the first one to the shop and slide the second one over and keep working. I got bit once where I had a Version 1 G5 and I was in the middle of a deadline, and the computer went down and I didn’t know what to do. So I literally bought a new computer. I kept going, but of course there was another hump to get over: installing the software. Meantime, my deadline is coming up on me. Ever since, I try to keep a secondary sequencing machine that is near to my first one in case it goes down. So right now I am using four PCs, which is pared down—I originally had six. And then I have a dual 800 Mac that does nothing but run Pro Tools. Which Pro Tools systems is that you are running? It’s just a basic Pro Tools Digi 001. While I’m writing, Pro Tools runs all my video. I like to keep video off my main machine. Whatever sequencer I’m writing in, I inevitably bring it to its knees, because I’m writing these gigantic orchestral things. I might have Space Designer [the convolution reverb in Apple Logic Pro] and a couple of [Spectrasonics] Stylus instances on there— plus I try to work at a low latency. Logic sends MIDI Time Code to Pro Tools so I can go to bar 40 and the picture will follow along—as if the video were in the sequencer. At the very last stage when all my MIDI tracks are playing simultaneously, I just bust the masters out to Pro Tools, using it as a tape machine. It locks perfectly in sync, and I go into Record mode, and that’s how I have my sends that get delivered to the stage. It’s instant—it’s so fast, I can almost mix in real time. Many times on a film they want the percussion track separated or they want the choir separated. Having the Pro Tools system and working it this way allows me to do that. What kind of monitoring system do you use? Probably not the best one! I just do what works best for me. I’m a big fan of keeping the room as lean as possible, and I like that I have successfully driven out any real world interview VI Fig. 1: Nathan Furst has come up with a very clever way of navigating his huge orchestral template (34 tracks just for violins alone), as shown in this Logic screenset. See the shrunken window with the colored bars on the left? That’s a second Arrange window saved as part of this screenset, and the bars are folders. All his string tracks are packed inside the dark grey Strings folder, the Woodwind tracks are packed inside the sage green folder, and so on. Clicking on (in this case) the Strings folder opens up the main Arrange window to all the string tracks. The reason this works is that the main Arrange window is Linked to the same level, meaning that it jumps to whatever is being selected in any other window. That’s the little yellow chain link icon at the upper left; to prevent the shrunken Arrange window with the folders from scrolling to the current location, it isn’t linked. Also note the locked markers corresponding to different events in the show he’s scoring. audio (by soundproofing it). There’s nothing that enters the real world except for what’s coming out of my MOTU 2408 interface to my monitors, which are currently Mackie HR824s. I like them. A lot of hardcore engineers call them the “composers’ monitors” because they argue that it is not a true flat sound and that it makes everything sound good. They claim there is a lot of sweetening in the monitors—which is probably true, but I don’t care because I like it. Are you using a mixing controller? I have a short-lived Logic Control. It’s a great little box, but I have to be honest, I don’t go to it that much. I’ve been using Logic for 12 to 15 years. Let’s talk about “Shark Attack.” From 0:01 to 0:05, how did you get the brass to sound that way? VIRTUAL INSTRUMENTS 55
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