Weekly - Film Music Magazine

FILM MUSIC 

weekly 

Issue 42 • deCeMBeR 4, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • www.filmmusicweekly.com 

InsIde ThIs Issue 

2 Zimmer Signs With Cherry Lane 

Music Publishing 

2 Watters Conducts ‘Movies Rock’ 

2 Riptide Music to Rep Fuel Records Catalog 

5 Signings and Projects for Rupert Gregson- 

Williams, Thomas Newman and more 

ACID Pro 6 

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7 Feature Article: 

TuneCore: Record Royalties Reinvented? 

12 Soundtrack Review: 

“Alien” (Jerry Goldsmith) 

14 The Chart Doctor: 

Trap Set Notation Basics 

16 Music Technology and You: 

Doug Rogers – Why It’s Time to PLAY 

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FILM MUSIC weekly 

Issue 42 • deCeMBeR 4, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • www.filmmusicweekly.com 

Zimmer Signs With 

Cherry Lane Music Publishing 

n Cherry Lane 

Music Publishing 

Company Inc., 

publishing administrator 

to film 

companies such 

as The Weinstein 

Company, DreamWorks Animation 

SKG, DreamWorks Pictures, Lakeshore 

Entertainment and Walden 

Media, has signed film composer 

Hans Zimmer to a worldwide, longterm 

publishing administration 

agreement. 

Among Zimmer’s over 100 film 

scores are Rain Man, Driving Miss 

Daisy, Pearl Harbor‚ Batman Begins, 

Madagascar‚ Hannibal‚ Black Hawk 

Down, Thelma & Louise‚ A League Of 

Their Own‚ As Good as It Gets, The 

Watters Conducts 

‘Movies Rock’ 

n Veteran composer 

and conductor 

Mark 

Watters will conduct 

a 60-piece 

orchestra and 

serve as co-Music 

Director for Movies 

Rock, a two-hour live event and 

CBS television special that will 

celebrate the relationship between 

music and film and act as a benefit 

for the Entertainment Industry 

Foundation. The event features an 

all-star line-up including Beyonce, 

Carrie Underwood, Elton John, 

Thin Red Line, Backdraft‚ Gladiator, 

Crimson Tide, The Last Samurai, 

The Da Vinci Code, Pirates of the Ca- 

ribbean: Dead Man’s Chest, and 

Pirates of the Caribbean: At World’s 

End. He won the Oscar, Golden 

Globe, Grammy, and Tony Award for 

his work on The Lion King. 

The parties were brought 

together by Cherry Lane joint 

venture partner Joel Sill. The 

veteran music publisher, record 

producer and music supervisor 

(Easy Rider, Forrest Gump, Munich, 

Bobby) notes, “I have had 

the good fortune to know Hans as a 

friend and as a professional. I watch 

and listen in amazement as he reinvents 

himself for each project. 

(continued pg.4) 

SCORING NEWS: “Revolutionary Road” (Thomas Newman), “Town Creek” (David Buckley) and more 

FEATURE ARTICLE: “TuneCore: Record Royalties Reinvented?” by Mark Holden 

CD REVIEW: 

Fergie, Jennifer Hudson, Jennifer 

Lopez, Marc Anthony, John Legend, 

Mary J. Blige, LeAnn Rimes, 

Chris Brown, Usher, Queen Latifah, 

Tony Bennett, and composer 

John Williams. 

Arrangers for the event include 

David Paich, Bill Ross, Jeremy 

Lubbock, Brad Dechter, Tom Scott, 

Tony Blondal, Pat Russ, Bill Elliot, 

and Mark Gasbarro. 

Beyonce is slated to sing “Somewhere 

Over the Rainbow” from The 

Wizard of Oz, while Carrie Underwood 

will perform the title song 

from “The Sound of Music.” 

Daniel Schweiger reviews “Alien” (Jerry Goldsmith) 

Riptide Music to Rep 

Fuel Records Catalog 

n Riptide Music, a source of licensed 

music for the advertising, 

feature film, film trailer, television, 

TV promo, and videogame industries, 

has announced exclusive 

worldwide representation 

of the 

Fuel Records catalog, 

comprised 

of over 10,000 

historic masters. 

Fuel currently owns or has longterm 

licenses for more than 10,000 

masters. Among these titles are 

hits including The Outsiders’ “Time 

Won’t Let Me,” Vanilla Fudge’s “You 

THE CHART DOCTOR: “Trap Set Notation Basics: Give Your Drummer A Break” by Ron Hess 

MUSIC TECHNOLOGY: “Doug Rogers – Why It’s Time to PLAY” by Peter Alexander 

Keep Me Hanging On,” Bob Welch’s 

“Sentimental Lady,” and The Buckingham’s 

“King of a Drag.” Recently, 

Fuel placements have included the 

hit films American Gangster and 

Bee Movie. 

Riptide Music 

president Rich 

Goldman said, 

“With a growing 

roster of celebrity talent and the 

addition of Fuel’s historic masters, 

RipTide Music is in a great position 

to provide world-class choices for 

just about any project.” For more 

information visit Riptide Music. 

2 ISSUE 42 • DECEMBER 4, 2007 FILM MUSICweekly

FILM MUSIC 

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Editor: Mikael Carlsson 

VP Finance and Operations: Rebecca Lee 

Art Director: Joshua Young 

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Soundtrack Editor: Daniel Schweiger 

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Accounting: Tina Chiang 

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This Week on 

FMR 

FILM MUSIC RADIO 

ON THE SCORE 

MARK ISHAM AND 

FRANK DARABONT 

Film music journalist 

Daniel Schweiger interviews 

composer Mark Isham and 

director-writer Frank Darabont, who 

talk about their subtly scary 

collaboration for THE MIST 

LISTEN NOW 

INSIDE THE BUSINESS 

CELLIST AND FI-CORE 

MUSICIAN JOHN ACOSTA 

Mark Northam interviews one of 

the leading financial core musicians 

about his journey to financial 

core status and his wife’s charges 

against local 47 

LISTEN NOW 

FILM MUSICweekly 

ISSUE 42 • DECEMBER 4, 2007 3

INDUSTRY NEWS 

Zimmer Signs With Cherry 

Lane Music Publishing 

(continued from pg 2) 

On every film he searches until he finds his muse and when he finds it, 

it ignites his scores with music that always enhances the film. 

The list of directors he has and continues to work with is a testament 

to his creativity.” 

Peter Primont, CEO of Cherry Lane, remarked: “Hans Zimmer is 

one of the most well-respected and distinguished film composers of all 

time and a pioneer in his field. Cherry Lane is proud to now represent 

his diverse work and we look forward to a successful relationship with 

Hans for years to come.” 

The deal was negotiated by Mike Connelly, EVP Business Development, 

and Keith Hauprich, VP of Business and Legal Affairs, from 

Cherry Lane, Steve Kofsky of Remote Control Productions and Candance 

Carlo of Greenberg Glusker on behalf of Remote Conrol Productions. 

For more information, visit Cherry Lane. 

(continued from pg 2) 

Watters Conducts 

‘Movies Rock’ 

Fergie will perform “Live And Let Die” from the James Bond film, and 

Mary J. Blige and John Legend are on board to sing “As Time Goes 

By” from Casablanca. Usher, fresh off a successful Broadway run in 

“Chicago,” will sing and dance his way through “Singin’ In the Rain”, 

and John Williams will conduct a medley of Academy Award winning 

and nominated scores. The finale will feature vocal legend, Tony Bennett 

singing “White Christmas.” 

In addition to performances, the event features Hollywood presenters 

and speakers including Charlize Theron, Harrison Ford, Billy 

Bob Thornton, Danny Devito, Matthew Broderick, Quentin Tarantino, 

Shirley MacLaine, Cuba Gooding, Jr., Rita Moreno, John C. Reilly, 

Jenna Fischer, and more. The event will air on CBS on December 7 at 

9:00 PM EST/PST. 


SCORING NEWS by 

ThIs WeeK’s MAJOR 

sCORInG AssIGnMenTs 

Rupert Gregson-Williams: 

Made of Honor 

Rupert Gregson-Williams, who has 

scored recent box office hits such as 

Over the Hedge, Bee Movie and I Now 

Pronounce You Chuck and Larry, has 

been hired to score Made of Honor, the 

new romantic comedy starring Patrick 

Dempsey and Michelle Monaghan. The 

film is directed by Paul Weiland, the British 

helmer who made Roseanna’s Grave 

ten years ago, and scheduled to premiere 

on May 2, 2008. Gregson-Williams is 

also doing the music for You Don’t Mess 

With the Zohan, an Adam Sandler comedy 

directed by Dennis Dugan. 

Thomas Newman: 

Revolutionary Road 

Thomas Newman reunites 

with American 

Beauty director Sam 

Mendes. Newman 

will be scoring his 

new film Revolutionary 

Road, a drama 

which stars Leonardo 

DiCaprio, Kate Winslet and Kathy Bates. 

The film takes place in 1950s Connecticut 

and is an intimate drama about 

a young couple who struggles with their 

personal problems while trying to raise 

two children. The film is based on a novel 

by Richard Yates. Other talents involved 

in the filming is veteran cinematographer 

Roger Deakins. The film is scheduled 

to come out in December 2008 with 

Dreamworks handling U.S. distribution. 

Newman has scored all of the 

feature films Sam Mendes has directed: 

American Beauty, Road to Perdition and 

Jarhead. 

Stanley Clarke: 

First Sunday 

Stanley Clarke, the 

legendary bass 

player and an experienced 

film composer 

with credits such 

as The Transporter, 

Boyz n the Hood and 

Romeo Must Die on 

his resume, is doing the music for First 

Sunday, a comedy starring Ice Cube, 

Katt Williams and Tracy Morgan. David 

E. Talbert directs and Ice Cube produces 

together with Matt Alvarez. The story is 

about two criminals who come up with a 

desperate scheme to rob their 

neighborhood church. Film is scheduled 

to premiere on January 11, 2008, and 

is Stanley Clarke’s first film since Roll 

Bounce, which he scored in 2005. 

David Buckley: 

Town Creek 

Joel Schumacher’s return to the vampire 

film genre (he directed The Lost Boys in 

1987), Town Creek, will get an original 

score composed by David Buckley. He is 

a composer who has been a member of 

Harry Gregson-Williams’ team, doing additional 

music for films such as Flushed 

Away, Gone Baby Gone and The Number 

23 (also directed by Schumacher). Town 

Creek is Buckley’s first solo gig. The 

film stars Dominic Purcell, Henry Cavill 

and Michael Fassbender in a frightening 

story about an occult experiment dating 

back to the Third Reich. Gold Circle Films 

produces. 

Javier Navarrete: 

Fireflies in the 

Garden Spanish composer 

Javier Navarrete, who 

came to international 

prominence with his 

Oscar-nominated 

score for Guillermo 

del Toro’s Pan’s 

Labyrinth last year, is 

currently working on the score for Fireflies 

in the Garden, a drama starring Julia 

Roberts, Willem Dafoe, Emily Watson, 

Carrie-Anne Moss and Ryan Reynolds. 

Written and directed by Dennis Lee, the 

film centers on an intimate and personal 

depiction of a family struck by an unexpected 

tragedy. Navarrete has been 

busy since he scored Pan’s Labyrinth, 

working for French veteran filmmaker 

Jean-Jacques Annaud on His Majesty 

Minor and with director Iain Softley on 

his fantasy adventure Inkheart. 

Graeme Revell: 

The Night Watchman 

The Night Watchman, 

a crime thriller 

based on a story and 

screenplay by James 

Ellroy of L.A. Confidential 

fame, will 

get an original score 

by Graeme Revell 

(Sin City, From Dusk 

Till Dawn, Daredevil), one of the film’s 

producers confirmed to Upcoming Film 

Scores/Film Music Weekly today. DJ 

Muggs, an LA music artist, is also contributing 

to the score. John Houlihan 

and Season Kent are the music supervisors 

on the film. The Night Watchman is 

directed by David Ayer who previously 

worked with Revell on Harsh Times. 

Keanu Reeves portrays a veteran cop 

who is drawn into a story where loyalty 

conflicts and a corrupted cop culture are 

key elements. Other actors in the film 

include Hugh Laurie, Chris Evans and 

Forest Whitaker. 

The sCOReBOARd 

Panu Aaltio: The Home of Dark Butterflies. 

Tree Adams: Emilio • Farewell Bender. 

Eric Allaman: Race. 

John Altman: The Master Builder. 

Marco D’Ambrosio: Say Hello to Stan 

Talmadge. 

Michael Andrews: Walk Hard: The Dewey 

Cox Story. 

David Arnold: How to Loose Friends and 

Alienate People • Bond 22. 

Angelo Badalamenti: The Eye • The Edge 

of Love. 

Klaus Badelt: Heaven and Earth • Killshot 

• Dragon Hunters. 

Roque Baños: Las 13 Rosas • The Oxford 

Murders. 

Lesley Barber: A Thousand Years of Good 

Prayers. 

Nathan Barr: Watching the Detectives • 

Tortured. 

Tyler Bates: Day of the Dead • Doomsday 

• Watchmen. 

Jeff Beal: Where God Left His Shoes • Salomaybe? 

• The Deal • The Pixar Story. 

Christophe Beck: Drillbit Taylor. 

Marco Beltrami: In the Electric Mist with 

Confederate Dead • The Eye. 

Jean-Michael Bernard: Be Kind Rewind 

• Détrempoez-vous. 

Charles Bernstein: Tenebrous. 

Doug Besterman: Exit Speed. 

Scott Bomar: Maggie Lynn. 

Simon Boswell: Bathory. 

Jason Brandt: Something’s Wrong in 

Kansas. 

David Buckley: Town Creek. 

Mickey Bullock: Sportkill • Orville. 

Kenneth Burgomaster: Garfield Gets Real 

• Hero Wanted. 

Carter Burwell: In Bruges. 

Edmund Butt: The Waiting Room. 

Niall Byrne: How About You. 

Brian Cachia: Gabriel. 

Peter Calandra: The Sickness. 

Paul Cantelon: The Other Boleyn Girl. 

Jeff Cardoni: Save Me • American Pie: Beta 

House. 

Jamie Christopherson: Ghost Image. 

Nigel Clarke & Michael Csányi-Wills: The 

Grind. 

Stanley Clarke: First Sunday. 

George S. Clinton: Harold and Kumar 2. 

Elia Cmiral: The Deaths of Ian • Missionary 

Man • Tooth and Nail. 

Chandra Cogburn: Fiesta Grand • Orgies 

and the Meaning of Life • The Bard: The 

Story of Robert Burns. 

MIKAeL CARLssOn 

mcarlsson@filmmusicweekly.com 

Graham Collins: Black Kissinger. 

Juan J. Colomer: Dark Honeymoon. 

Eric Colvin: Mariposa. 

Ry Cooder: : Charlie Wilson’s War. 

Normand Corbeil: Ma fille, mon ange • 

Boot Camp • Emotional Arithmetic. 

Jane Antonia Cornich: Island of Lost Souls 

• Solstice. 

Burkhard Dallwitz: The Interrogation of 

Harry Wind • Chainsaw. 

Jeff Danna: Closing the Ring • C7. 

Carl Davis: The Understudy. 

Marcello De Francisci: The Butcher. 

Wolfram de Marco: The Tribe. 

Jessica de Rooij: Postal • Tunnel Rats • Far 

Cry • In the Name of the King: A Dungeon 

Siege Tale. 

John Debney: Big Stan • Sin City 2 • Starship 

Dave • Old Dogs. 

Erik Desiderio: He’s Such a Girl. 

Alexandre Desplat: The Golden Compass. 

Ramin Djawadi: Fly Me to the Moon • The 

Tourist • Iron Man. 

James Michael Dooley: Bachelor Party 2. 

Patrick Doyle: Nim’s Island. 

Ludek Drizhal: Life Goes On • Badland. 

Anne Dudley: The Walker. 

Clint Eastwood: Grace Is Gone. 

Randy Edelman: 27 Dresses • The 

Mummy: Tomb of the Dragon Emperor. 

Jonathan Edwards: The Golden Boys. 

Steve Edwards: Finding Rin-Tin-Tin • The 

Neighbor • The Intervention. 

Danny Elfman: Wanted • The Sixth Element 

• Hellboy 2: The Golden Army. 

Stephen Endelman: The Grand • Redbelt. 

Tom Erba: Chinaman’s Chance. 

Ilan Eshkeri: The Virgin Territories • Strength 

and Honor. 

Evan Evans: The Mercy Man • You’re 

Nobody ‘Til Somebody Kills you. 

Nima Fakhara: Lost Dream. 

Sharon Farber: When Nietzsche Wept. 

Guy Farley: The Flock • The Christmas 

Miracle of Jonathan Toomey • Knife Edge • 

Dot Com • The Broken • Dylan. 

George Fenton: Fool’s Gold. 

Chad Fischer: The Babysitters. 

Robert Folk: Kung Pow: Tongue of Fury • 

Magdalene • Vivaldi. 

Jason Frederick: Good Chemistry • Bears. 

John Frizzell: Careless • First Born. 

Michael Giacchino: Star Trek XI. 

Richard Gibbs: Cleaner. 

Vincent Gillioz: The Appearance of Things 

• Portal. 

Scott Glasgow: Hack! • Toxic • The Gene 

Generation • Bone Dry • Lo • The Bridge to 

Nowhere. 

Philip Glass: Cassandra’s Dream • Les 

animaux amoreux. 

Erik Godal: The Gift • Ready Or Not • Irreversi. 

Jonathan Goldsmith: Tenderness. 

Jeff Grace: Trigger Man • I Sell the Dead • 

Liberty Kid. 

Harry Gregson-Williams: Jolene • The Chronicles 

of Narnia: Prince Caspian • G-Force 

• Wolverine. 

Rupert Gregson-Williams: You Don’t Mess 

With the Zohan • Made of Honor. 

Andrew Gross: Forfeit • National 

Lampoon’s Bag Boy • Diamond Dog Caper. 



Film Music Weekly’s “The Scoreboard” only lists scoring assignments that have been confirmed to us by official sources. 

The list is limited to feature film scoring assignments. New additions are highlighted in red print. 

Larry Groupé: Love Lies Bleeding • The 

Hungry Woman • Straw Dogs. 

Robert Gulya: Atom Nine Adventures. 

Steven Gutheinz: Rothenburg. 

Richard Hartley: Diamond Dead. 

Richard Harvey: Legend of King Naresuan 

• Eichmann. 

Paul Haslinger: Gardener of Eden • Prom 

Night. 

Paul Heard: Clubbed. 

Alex Heffes: My Enemy’s Enemy • State of 

Play • Sweeney Todd. 

Christian Henson: Zomerhitte. 

Eric Hester: The Utopian Society • Lost 

Mission • Frail. 

Tom Hiel: A Plumm Summer. 

David Hirschfelder: Shake Hands With the 

Devil. 

Ben Holbrook: Kiss the Bride. 

James Horner: The Spiderwick Chronicles. 

• Avatar • In Bloom. 

Richard Horowitz: Genghis Khan • 

Kandisha • The Whisperers. 

James Newton Howard: The Waterhorse 

• I Am Legend • Charlie Wilson’s War • 

The Great Debaters • Mad Money • The 

Happening. 

Terry Huud: Plaguers. 

Alberto Iglesias: The Kite Runner. 

Mark Isham: Pride and Glory • The Express. 

Corey Allen Jackson: Idiots and Angels. 

James Jandrisch: American Venus. 

Adrian Johnston: Sparkle • Brideshead 

Revisited. 

Bobby Johnston: American Fork • Stuck • 

Hotel California • Happiness Runs. 

Evan Jolly: Tonight Is Cancelled. 

Tim Jones: Cryptid. 

Trevor Jones: Fields of Freedom • The 

Power of the Dark Crystal. 

David Julyan: Waz. 

George Kallis: Antigravity. 

Tuomas Kantelinen: Quest for a Heart • 

Arn: The Knight Templar • Mongol. 

Yagmur Kaplan: The Elder Son • The Lodge 

• Broken Windows. 

Laura Karpman: Man in the Chair • Out at 

the Wedding. 

Rolfe Kent: Spring Break in Bosnia • Sex 

and Death 101. 

Wojciech Kilar: Black Sun. 

Mark Kilian: Before the Rains. 

David Kitay: Shanghai Kiss • Blonde 

Ambition. 

Harald Kloser: 10,000 BC. 

Abel Korzeniowski: Terms. 

Penka Kouneva: The Third Nail • Richard III 

• Midnight Movie. 

Ivan Koutikov: Wanted Undead Or Alive • 

Living Hell. 

Aryavarta Kumar: The Rapture • Greater 

Threat. 

Nathan Larson: August • Choke. 

Jim Latham: Greetings from the Shore • 

Swishbucklers • Parental Guidance Suggested. 

Christopher Lennertz: Alvin and the 

Chipmonks • The Perfect Christmas • Meet 

the Spartans. 

Craig Leon: Maestro. 

Geoff Levin: Triloquist • The Rat Thing • 

Agenda • The Fallen. 

Michael A. Levine: Adrift in Manhattan. 

Christopher Libertino: Off the Grid – Life 

on the Mesa • The Forgotten Kingdom. 

Jason & Nolan Livesay: Bounty • Limbo 

Lounge. 

Andrew Lockington: Step • How She 

Move • Journey 3-D. 

Joseph LoDuca: Bar Starz • My Name Is 

Bruce • Boogeyman 2. 

Henning Lohner: In the Name of the King: 

A Dungeon Siege Tale • Timber Falls • 

Kleiner Dodo. 

Helen Jane Long: Surveillance. 

Erik Lundborg: Absolute Trust. 

Deborah Lurie: Spring Breakdown. 

Vivek Maddala: They Turned Our Desert 

Into Fire. 

Nuno Malo: Mr. Hobb’s House. 

Mark Mancina: Sheepish • Camille • Without 

a Badge • Like Dandelion Dust. 

Harry Manfredini: Black Friday • iMurders • 

Impulse • Anna Nicole • Dead and Gone. 

David Mansfield: Carnaval de Sodoma • 

Then She Found Me • The Guitar. 

Dario Marianelli: Shrooms • Far North • 

The Soloist. 

Anthony Marinelli: Grizzly Park. 

Gary Marlowe: Los Pereyra • Das echo der 

Schuld. 

Phil Marshall: Live. 

John McCarthy: The Stone Angel. 

Mark McKenzie: The Redemption of Sarah 

Cain. 

Joel McNeely: The Tinkerbell Movie. 

Nathaniel Mechaly: Sans moi • Le Dernier 

gang • La Chambre des morts. 

Matt Messina: Juno • The Least of These. 

Guy Michelmore: Doctor Strange • Bono, 

Bob, Brian and Me. 

Randy Miller: Last Time Forever • Shanghai 

Red • Second Chance Season. 

Robert Miller: Teeth • The Key Man • 

Trumbo. 

Sheldon Mirowitz: Renewal • Operation 

Filmmaker. 

Charlie Mole: Fade to Black • I Really Hate 

My Job • St. Trinian’s. 

John Morgan: The Opposite Day (cocomposer). 

Paul Leonard-Morgan: Popcorn. 

Trevor Morris: Matching Blue • Krews. 

Mark Mothersbaugh: Mama’s Boy • Quid 

Pro Quo • Fanboys. 

Sean Murray: The Lost • Clean Break. 

Peter Nashel: Wedding Daze. 

Javier Navarrete: His Majesty Minor • Mirrors 

• Inkheart • Fireflies in the Garden. 

Blake Neely: Elvis and Anabelle • The Great 

Buck Howard. 

Roger Neill: Take • Scar. 

David Newman: Welcome Home Roscoe 

Jenkins. 

Joey Newman: Safe Harbour. 

Randy Newman: Leatherheads • The Frog 

Princess. 

Thomas Newman: Nothing Is Private • 

Wall-E • Revolutionary Road. 

Marinho Nobre: Left for Dead. 

Adam Nordén: Everybody’s Dancing • Wolf 

• De Gales hus. 

Julian Nott: Heavy Petting. 

Paul Oakenfold: Victims. 

Dean Ogden: Oranges • Knuckle Draggers 

• A Perfect Season. 

John Ottman: Valkyrie. 

John Paesano: Shamrock Boy. 

Heitor Pereira: Suburban Girl • The Canyon 

• Running the Sahara. 

Mark Petrie: The Road to Empire • Lake 

Dead • Mr. Blue Sky • Valley of Angels • 

Farmhouse. 

Barrington Pheloung: And When Did you 

Last See your Father?. 

Leigh Phillips: War Made Easy • Still Life. 

Martin Phipps: Grow your Own. 

Nicholas Pike: The Shooter • Parasomnia. 

Nicola Piovani: Odette Toulemonde. 

Douglas Pipes: Trick r’ Treat. 

Steve Porcaro: The Wizard of Gore • 

Cougar Club. 

John Powell: Horton Hears a Who • 

Jumper. 

Michael Price: Sugarhouse Lane • Agent 

Crush. 

Trevor Rabin: National Treasure 2: The Book 

of Secrets • Get Smart. 

Didier Lean Rachou: How to Rob a Bank • 

An American in China. 

Brian Ralston: Graduation • 9/Tenths. 

Jasper Randall: Me & you, Us, Forever • 

The Secrets of Jonathan 

Sperry. 

Joe Renzetti: 39 • Universal Signs. 

Graeme Revell: Pineapple Express • Days 

of Wrath • The Night Watchman. 

Graham Reynolds: I’ll Come Running. 

Zacarías M. de la Riva: The Last of the Just 

• The Anarchist’s Wife. 

Carmen Rizzo: The Power of the Game. 

Matt Robertson: The Forest. 

Douglas Romayne: In Zer0: Fragile Wings. 

Philippe Rombi: Angel. 

Brett Rosenberg: The Skeptic. 

Laura Rossi: The Cottage. 

David Glen Russell: Contamination. 

Hitoshi Sakamoto: Romeo x Juliet. 

H. Scott Salinas: Strictly Sexual • What We 

Did on Our Holidays. 

Anton Sanko: Life in Flight • Steep. 

Gustavo Santaolalla: Things We Lost in 

the Fire (themes). 

Brian Satterwhite: Cowboy Smoke • 

Maidenhead. 

Mark Sayfritz: Sake. 

Brad Sayles: The Bracelet of Bordeaux. 

David Schommer: War, Inc. 

Misha Segal: Lost at War • Shabat Shalom 

Maradona. 

Marc Shaiman: Hairpsray • Slammer • The 

Bucket List. 

Theodore Shapiro: Mr Woodcock • The 

Mysteries of Pittsburgh • 

The Girl in the Park • Semi-Pro • Tropic 

Thunder • The Heartbreak Kid. 

George Shaw: Victim • Sailfish. 

Edward Shearmur: Passengers • Bill • 

College Road Trip. 

Ryan Shore: The Girl Next Door • Numb • 

Jack Brooks – Monster 

Slayer • Shadows. 

Vince Sievers: The Source. 

Carlo Siliotto: La MIsma Luna • The Ramen 

Girl. 

Samuel Sim: Awake. 

Marcus Sjöwall: Dreamkiller. 

Cezary Skubiszewski: Death Defying Acts 

• Disgrace. 

Damion Smith: Stompin. 

Jason Solowsky: 110%: When Blood, 

Sweat and Tears Are Not Enough • The 

Deepening • L.A Takedown • Unemployed • 

North by El Norte. 

Maarten Spruijt: The Seven of Daran: 

Battle of Pareo Rock. 

Mark Hinton Stewart: Man from Earth. 

Marc Streitenfeld: Body of Lies. 

William T. Stromberg: TV Virus • Army of 

the Dead • The Opposite Day (co-composer). 

Jina Sumedi: Sextet. 

Mark Suozzo: The Nanny Diaries. 

John Swihart: The Brothers Solomon. 

Johan Söderqvist: Walk the Talk • Let the 

Right One In. 

Joby Talbot: Son of Rambow. 

Frederic Talgorn: Asterix at the Olympic 

Games • Largo Winch • Dragon Hunters. 

Francois Tétaz: Rogue. 

Mark Thomas: Tales of the Riverbank. 

tomandandy: The Koi Keeper. 

John van Tongeren: War Games 2 - The 

Dead Code. 

Pinar Toprak: Blue World • Dark Castle • 

Serbian Scars • Say It In Russian • Ocean 

of Pearls. 

Jeff Toyne: Shadow in the Trees • Within • 

Late in the Game. 

Michael Tremante: If I Didn’t Care. 

Gregory Tripi & Kyle Batter: Dark Storm • 

Termination Point. 

Ernest Troost: Crashing. 

Brian Tyler: Alien vs. Predator 2 • John 

Rambo • The Heaven Project. 

Shigeru Umebayashi: A Simple Love Story. 

Cris Velasco: Prep School. 

Waddy Wachtel: Strange Wilderness. 

Reinhardt Wagner: L’Heure zéro. 

Michael Wandmacher: The Killing Floor • 

Train • Get Some. 

Stephen Warbeck: Flawless • Miguel and 

William • The Box Collector. 

Matthias Weber: Silent Rhythm. 

Richard Wells: The Mutant Chronicles. 

Cody Westheimer: Benny Bliss and the 

Disciples of Greatness • Hysteria. 

Alan Williams: For the Love of a Dog • Act 

Your Age • Snow Princess • He Love Her, 

She Loves Him Not • The Velveteen Rabbit. 

David Williams: The Conjuring. 

John Williams: Indiana Jones and the Kingdom 

of the Crystal Skull • Lincoln. 

Patrick Williams: Mikey and Dolores. 

Tim Williams: Afterthought • The Passage 

• Starcrossed. 

Austin Wintory: Captain Abu Raed • Mr. 

Sadman • Grace. 

Debbie Wiseman: Amusement. 

Chris Wood: Zombies Ate My Prom Date. 

Alex Wurman: Bernard and Doris • Baggage 

• Quebec. 

Gabriel Yared: Manolete • The No. 1 Ladies 

Detective Agency. 

Christopher Young: Sleepwalking • Untraceable. 

Geoff Zanelli: Delgo • Outlander • Ghost 

Town. 

Marcelo Zarvos: What Just Happened? 

Aaron Zigman: Home for Christmas • Step 

Up 2 the Streets • Smart People • Lake City. 

Hans Zimmer: Frost/ Nixon • Casi Divas • 

Kung Fu Panda. 

Atli Örvarsson: Vantage Point • Babylon 

A.D. 


FEATURE ARTICLE 

TuneCore: Record Royalties Reinvented? 

TuneCore is a 

unique service 

that both allows 

artists to get their 

music placed 

on iTunes and 

other online 

music stores 

and provides a 

detailed reporting 

interface for 

artists listing the 

royalties earned 

from online music 

store sales. Artists 

Jeff Price 

can monitor their 

online music store royalty earnings to the penny, 

and can easily withdraw accumulated royalty 

earnings from their TuneCore account. TuneCore 

currently boasts over 318,000 songs delivered 

to the online music stores and over $3 million in 

earnings by TuneCore customers. 

Please tell us about your background 

and experience in the music business. 

For 19 years, I co-owned and operated a record 

label called Skin Art Records, which released 

somewhere in the neighborhood of 220 albums. 

Over those two decades, we were in label deals 

with Sony, BMG, Warner Music Group, Universal, 

Polygram Publishing — the whole gamut. In 1996 

or so, I had the good fortune to meet Gene Hoffman 

and Bob Kohn, the two founders of EMusic, 

and contributed toward its original business 

plan along with assisting them in raising venture 

capital. I began to do licensing deals and master 

acquisitions for EMusic as well as business development, 

eventually moving from New York to 

San Francisco. Once EMusic was sold to Vivendi, 

I returned to New York. That’s when I came up 

with the concept for TuneCore. We went to market 

and live with TuneCore in January of 2006. 

Tell us about the TuneCore business 

model and its relevance in today’s record 

market. 

To really get the value of TuneCore, it’s important 

to understand what the record business has 

been in the past 100 years or so. Let’s equate 

a commercial music release to a wristwatch, 

and that you want to sell your watch in a Boston 

shop. So you say to the shopkeeper, “Hey, I 

wanna sell my watch in your store.” They say 

okay and ask you how much you want for it if it 

sells. You say 10 bucks, and they tell you to come 

back at the end of the month. When you return, 

if the watch is still there, you take it back. But if 

the watch is gone, the shopkeeper hands you a 

ten spot. 

For the purposes of your illustration, 

what did the shop sell it for? 

That’s just it — you have no idea. They could’ve 

given it away or sold it for hundreds of dollars. 

Under that deal, it doesn’t matter what the 

shopkeeper sold it for as long as you get your 

wholesale price of 10 dollars. But you are selling 

watches. So one day, you get a call from Joe 

Smith in Chicago, and Joe says, “Hey, I heard 

about your watches selling in Boston. Tell you 

what, ship me your entire inventory and I’ll put 

‘em in my giant warehouse. The minute I receive 

them, they’re gonna be insured — and I got 

a whole staff of people running around taking 

orders, packing, and shipping watches all over 

the country. Here’s the deal: when your watch 

leaves my warehouse, you’re gonna get paid. It 

doesn’t matter if the order comes in low, I’ll still 

guarantee your price. If it gets busted in transit, 

I’ll take the stuff back and make it all good at no 

cost to you.” 

That beats the original deal in Boston. 

“But wait,” Joe says. “There’s more! I got an 

even bigger staff running all over the country 

at places where the watch store buyers get 

together. My people meet with the buyers — you 

know, the folks who are responsible for putting 

stock on the shelves. We dazzle ‘em with pitches, 

catalogs and free samples. We got a built-in sales 

force for ya. 

Okay, so now our “watchmaker” is really 

moving product. 

That’s right. But Joe’s sales team is fighting for 

a finite amount of retail shelf space in those 

stores. That’s the crucial fact. The store can’t carry 

everything, they can only carry what fits. So Joe’s 

people will fight to make sure your watches get 

to the shelves over the watches of other people. 

And further, Joe’s folks will monitor sales reports 

and replenish the inventories of the stores so you 

can sell even more watches. 

How else does Joe, the distributor, 

sweeten the deal with our watchmaker? 

On top of all that distribution, Joe promises to 

work with the retailers to advertise your watches 

within the store premises — which is sure to 

boost sales. Maybe have special signs or displays 

By Mark Holden 

to put the product out front for the buyer to see. 

That takes money, of course, to pay the retailer 

for all the special treatment, but Joe promises to 

advance all the necessary funds. 

Let’s make sure we’re all up to speed. 

Our watchmaker is getting his wholesale 

price from Joe, the distributor. How is 

Joe making money? 

Remember, all the stock that’s in these retail 

stores is on consignment. Just like the store in 

Boston — if the stuff doesn’t sell, people come 

to take it away for a full refund. So Joe deals with 

collecting all the money, processes the returned 

product, the whole nine yards. Of course, Joe 

wants something for all the effort he and his 

people are expending. So Joe makes a deal with 

the store to receive 25% of all the sales. For 

every dollar of sales, Joe will receive a quarter 

and the retailer keeps the rest. 

So now you’ll correlate this business of 

watches to the music industry? 

Oh, yes. Only the “watchmakers” in this example 

are really the record labels, not the people 

who actually create the watches or the music. 

The labels go out and hire people to make music, 

obtain the rights to conduct the business at 

hand, manufacture copies of the music and hand 

them off to Joe, the distributor, in Chicago who 

puts the music in the stores. To the makers of 

the music, the label typically pays the artist $1.35 

to $1.75 per unit. 

So the age-old question emerges. Is the 

artist truly benefiting from the record 

label and Joe’s distribution machine — 

or is the artist at the mercy of it? 

Any way you want to look at it, when you replace 

watches with music, the record industry — outside 

of the service sector — has been about distribution. 

Record labels generate their revenues 

from the exploitation of master recordings, and 

that’s the intent of the contractual language. We 

take this ephemeral thing, these sound waves 

captured from the air, and find ways to place 

them into a contrivance that can be made available 

for purchase in a store so a customer can 

take it home for use in a device that allows them 

to hear the sound waves. 

So on a purely transactional basis, putting lemonflavored 

Pepsi and Mariah Carey recordings on 

store shelves is a very similar process. 

(Continued pg 8) 




TuneCore: Record Royalties Reinvented? (continued from pg 7) 

And in either case, so many outstretched 

palms along the way. 

Absolutely. Let’s take the example of Sony 

BMG, which happens to own a label known 

as Columbia Records. Let’s look at the label as 

essentially research and development that may 

identify the next lemon-flavored Pepsi to its parent 

corporation in the person of artist XYZ Jones. 

Columbia signs Jones and assigns a producer to 

the project, takes Jones into the studio, records 

the product, molding and shaping along the way, 

wanting the final product to be mass consumable 

as opposed to being of niche appeal. Then 

the label gets busy with the packaging and 

manufacturing of the product, handing it off to its 

parent company that happens to be a worldwide 

distributor. Pretty soon, we’ve got what is hoped 

to be a hot new product on store shelves. 

Of course, the label will invoice the artist 

for its services rendered as stipulated 

in the recoupment language in the 

record contract. 

Yes, they will. And it hits spreadsheets differently. 

Or they do the 25% package deduction. But the 

immediate goal of the artist, label, and distributor 

is to create demand for the product via marketing 

and promotion. That’s the record industry. 

Up until fairly recently, we exclusively distributed 

music contained on 5-inch circular plastic discs 

that insert into square plastic boxes wrapped in 

cellophane for display in store racks and shelves. 

Of course, the sale is the thing. 

You bet. And one of the primary reasons an artist 

will seek to sign with a record label is to gain 

access to distribution. That’s where the magic 

happens — at the cash register. If the product 

isn’t on the shelf in the first place, there will be 

no purchase. If the sale can’t happen, quite obviously, 

the music can’t be sold. It’s access to the 

shelf space that many, many artists are seeking. 

Artists are also seeking marketing and 

promotion. 

Yes, that’s the flip side to being on the shelves 

— creating demand. Traditionally, record labels 

would market and promote in three ways, the 

rudiments of which are really incredibly simple. It 

comes down to providing the music for people to 

listen to, to play, and to tell other people about. 

That’s it, man. It’s just that simple. That’s what 

music marketing is. 

And the three ways to create demand? 

One is commercial radio. On a mass level, that’s 

how people traditionally were introduced to new 

music. I’m not talking about niche product, I’m 

talking 14 million Alanis Morissettes. The second 

way, traditionally, is that people would discover 

new music through television — outlets like 

MTV, VH1, and other music properties, or on the 

Letterman show or Conan O’Brian. The third way 

people got into new releases was through print 

publications like Rolling Stone, Creme, Spin, and 

so forth. These three outlets, television, radio, 

and print, would determine what was going to be 

exposed based on what the record labels pushed 

to them. These three mediums, so to speak, 

would pick and choose from the pool of available 

artists as to who they were going to expose. And 

hopefully, interest would become demand and 

translate into sales. 

And if you were an artist or a band not 

signed to a label? 

Difficult. Without the benefit of being pushed via 

the three media outlets, exposure was not going 

to happen. A one in a million shot, at best. 

Okay, that’s an excellent primer on how 

the record industry used to work before 

the advent of online delivery. Now, take 

us into the digital world. 

It’s a drastic shift in the lay of the land. Digital 

stores have fundamentally changed the industry 

landscape because you no longer need to fight 

for the shelf space that was so precious with 

traditional retailers. Now there is virtual, unlimited 

shelf space — it never ends. You deliver a music 

file to a server once and that track can forever 

be in stock. There’s not only virtual unlimited 

inventory with no need for replenishment, but it 

also alleviates the costs previously incurred for 

overstocking and returns. Entire ledgers of costs 

disappear. 

What are the other features of this shift 

in the landscape? 

The important thing to note is that we have this 

hundred-year-old paradigm that is constructed 

around distribution. Much of the power of the 

major record companies is derived from their 

ability to get product into stores. Now if you don’t 

need a huge pack-and-ship warehouse to deliver 

the goods, don’t need a big field staff, don’t need 

co-opt dollars, and you don’t need inventory — 

what do you need with those old distribution 

mechanisms? 

Well, the big retailers still sell slews of 

CDs. Their paint isn’t peeling just yet. 

True. But the 4th largest seller of music in 

America is iTunes, after Wal-Mart, Target, and 

Best Buy. That’s a huge paradigm shift with more 

to come. And as with my own label, Spin Art 

Records, over 50% of our total album sales come 

from a single retailer—iTunes. Digital delivery is 

not some fractional novelty of an outlet. It’s here, 

it’s real, it’s happening. 

Okay, we’ve got it. Legitimate online 

delivery of music is here to stay. Bring 

on the digital retailers! 

Yes, up come the online stores that are changing 

the landscape, but the terms of business aren’t 

changing with all the changes and savings in 

expenditures. Many of the aggregators are following 

the old business paradigm. 

You’d better give us a working definition 

of “aggregator.” 

An aggregator such as TuneCore assembles 

many parts that can constitute a whole. Any 

number of bands or artists can be listed under a 

single banner or masthead, such as representation 

from an agency or a deal with a record label. 

The artists remain separate entities, but they can 

also be presented as a group of individuals for a 

variety of purposes. That’s what an aggregator 

does. 

How about a practical example of aggregation? 

Let’s take the example of Joe, the distributor, 

in Chicago. The retailers like working with Joe 

because he’s collected all kinds of variety under 

one roof that makes it convenient for the stores 

to stock their shelves. Instead of the stores having 

to administer fifty contracts with individual 

suppliers, they can do one contract with Joe who 

already has deals in place to represent those 

fifty suppliers and many more. From a business 

standpoint, aggregation is a convenience that 

saves time and money along with minimizing 

administrative traffic, liabilities, insurances, shipping, 

you name it. Imagine Tower Records trying 

to account to every artist, every band, and every 

band member for each album they sell. Instead, 

they account to the distribution arm of the record 

labels. 

Then describe for us this “virtual aggregator” 

in the world of digital downloads. 

Ideally, digital stores would like to go to a single 

source to access every piece of music ever 

recorded. 





Of course, that’s not going to happen. But from 

the store’s perspective, the convenience is to 

account to a manageable number of record labels 

and other aggregators offering master recordings 

for authorized downloading. They’d much rather 

do one deal with a service offering a gazillion 

artists than to attempt to administrate a gazillion 

individual deals — it’s just that simple. 

What does TuneCore do to enable access 

to this brave new world? 

TuneCore provides direct access to iTunes, Rhapsody, 

eMusic, Napster, Connect, Yahoo! Music, 

Urge, and Zune. We do this for straight, annual 

fees, including the foreign language versions of 

those services overseas. We aggregate many 

individuals into a whole that the online stores can 

effectively deal with. 

You mentioned aggregators who are using 

the playbook of the old paradigm. . 

Companies pop up wanting to appeal to the 

smaller indie record labels and unsigned artists 

as well. They go out and do access deals with 

iTunes and others knowing the smaller entities 

can’t do it for themselves. They pitch placement 

with many of the online stores. BUT, if an 

indie label or artist wants placement into the 

online services, they have to sign the aggregator’s 

contract. And the contract is often based 

on the old-school record industry model. ‘First, 

we’re going to control the rights to your master 

recordings, just like a record company who 

financed the sessions in the first place, although 

we didn’t. No, we’re not a record label and we 

don’t manufacture product, nor do we advance 

money for anything in the recording process, 

but we want control of the masters you paid for 

and we’ll collect the money from the exploitation 

of those masters. We don’t want to know 

about manufacturing CDs or printing artwork, and 

we’re not interested in promoting your record to 

college radio stations. We’re not going to take 

the phone call at 3:00 a.m. when the van breaks 

down or provide any other touring support as a 

record label would. BUT, we want to control your 

masters anyway. Second, we want 25% of the 

revenue from your downloaded masters because 

we’re like your distributor, ya know?’ 

That deal sucks. 

It sure does. Now, in the previous business model, 

you had that huge warehouse staffed with 

people and jobbers stationed all over the country 

placing point-of-purchase displays and performing 

all the other things that had to be done to get a 

record into the stores. In my opinion, the distribu- 

tor EARNED that 25% of the proceeds because 

they supported everything through to the sale. 

But in the digital world, why would anyone allow 

a straight aggregator to take a percentage of 

backend revenue with no ceiling? That’s crazy. 

So how does TuneCore handle the deal 

– non-exclusive, no points, no master 

control, no ownership permissions, no 

percentage of the take? 

Correct. For a straight fee, you gain access to 

iTunes. You upload your masters once and keep 

every penny iTunes sends for streams and downloads 

from their store. For the price of a pizza, 

you get worldwide global digital distribution. 

Give us an example of the fees. 

A 10-song CD delivered to iTunes is $20.87. 

TuneCore appears to be blowing the old 

business model out of the water. My 

first thought is that you could probably 

structure a deal that’s more favorable to 

TuneCore and people would still go for 

it. What’s the impetus for what appears 

to be such modest terms? 

I want to be very clear about our motivations, 

because the point is important. I’m a record label 

owner myself. Spin Art Records was approached 

by aggregators who wanted to pick up our entire 

catalog and provide us with digital distribution. 

Fortunately, we didn’t need them. But I listened 

to their pitch. Having done so, I politely told them 

to get the hell out of my office. It really upset 

me. I got very angry. 

What was in the pitch that set you off? 

I looked at what this would do to a particular 

release of ours and the people that created the 

music. You know, our label released the band. We 

spent $45,000 in tour support. We manufactured, 

marketed, and promoted probably $100,000 in 

co-opting. We worked our fingers raw to create 

awareness. The band slept on floors and ate at 

Taco Bell. Our sales were occurring because of 

what the label was doing and what the band was 

doing. And those aggregator jokers wanted to 

take 25% of our revenue from digital sales? And 

what exactly did they do to earn that? No way. 

And they’re going to control my masters as well? 

Then it got worse. Not only were they going to 

take 25% of the digital revenues without limitation, 

no caps, they weren’t going to pay us until 

45 days after the end of a QUARTER. This is a 

giant lag of time on a digital, one-way, no-return 

sale. Ridiculous! On top of that, they also wanted 

to set minimum thresholds — that they’d send 

us no money unless sales exceeded this or that 

figure. Absolutely profane! 

I understand completely. But tell our 

readers why those terms so incensed 

you. 

Let me get this straight, I told them. I walk into 

my bank wanting to withdraw 10 dollars from my 

account. “I’m sorry, sir,” says my banker. “You 

have only 17 dollars in your account. You must 

have 20 dollars in order to withdraw 10.” 

Excuse me!?! I’d say, along with a round of 

pointed expletives. It’s the same concept as what 

they were rolling down on me. No way I’d buy 

into that nonsense. So they sit on my money, 

they earn interest on it and refuse to pay it out 

unless it exceeds some predetermined level of 

their choosing? I don’t think so. 

Moving on, if an artist, band, or label 

utilizes TuneCore, what about aspects of 

marketing and promotion — quite aside 

from distribution? 

I wouldn’t pay an aggregation company 25% of 

my digital sales, that’s for sure. Not unless they 

had the serious resources of a label and distributor 

and were ready to devote a considerable 

amount of effort to me. No, I’d hire a publicist 

firm like SureFire and pay them a flat fee per 

month for the service I need. I don’t give them 

control of my masters or assign them 25% of an 

income stream with no ceiling. That’s ridiculous. 

You’re a true heretic of the old paradigm, 

Jeff. We love it! 

Honest to God, I hate bullies. And there’s a right 

and there’s a wrong. That deal was wrong. Now, 

to address your question, we have outlined at 

TuneCore’s website a variety of tools, products, 

and strategies available through our partner, 

JakPrints. Promotional things like custom T-shirts, 

sweatshirts, hoodies, hats, and so forth. Additionally, 

there are ideas for posters, fliers, buttons, 

stickers, and other guerilla marketing items. We 

also have partnerships offering deep discounts 

for CD manufacturing. 

So tell us more about the blood and guts 

reasons for TuneCore. 

I thought to myself — why not just reinvent the 

record industry? Let’s create a website where 

anyone on the planet can go, so long as they 

control the rights — anyone, there’s no filter, and 

they upload their songs or their albums, their film 

scores and their artwork and get global digital 

distribution for a modest fee while surrendering 

no rights. 





FILM MUSIC NEWS 


I want to provide people access to these digital account 24/7/365 at TuneCore.com. You can to the Harry Fox Agency or anyone else for that 

stores without carving up their real estate. We do anything you want with the money in the matter. If the TuneCore accounting system deliv- 

have the contracts in place to deliver music to account. You can mail yourself a check or mail ers as advertised, it’s got some real sex appeal in 

iTunes, Rhapsody, Napster, and many others, a check payable to anyone else. You can PayPal terms of transparency of operations. Additionally, 

people just have to decide how many services funds out or otherwise transfer your money. You the FAQ on the TuneCore.com site appears to be 

they want and in how many countries. They have have a full, administrative accounting tool to see quite thorough and digestible. 

complete and total control over where the music itemized detail of what title sold, where it sold, 

goes. In exchange, they pay a simple, up-front how many sold, what store, what currency, and Jeff, how would you like to sum up your 

fee for the service. That’s it. 

the conversion rate on the day of the transac- aspirations for TuneCore? 

tion. You can then export all that information I’ve done a great deal of thinking about this very 

Let’s talk about TuneCore’s online ac- into Excel spreadsheets and administer to your point. I don’t want to exploit rights or reascounting 

system. Pete Carpenter Fellowship winner John Kaefer heart’s (l) content. is pictured with BMI’s Pete Carpenter Fellowship sign ownerships winner James or Woodward take percentages (c) is congratulated of other 

We’re very proud Linda Livingston of it, and aand lot BMI of time, composer money, Mike Post in Post’s Burbank studio. by Post and Livingston. people’s money. Instead, I’ve created a robust 

energy, and resources went into implementing It was at this point that Jeff took us onto the and reliable platform — a platform revolving 

our system. We’ve made it as fast and transpar- TuneCore site to see the accounting interface for around service — that provides real solutions for 

ent as possible. BMI Not all the digital names stores pay his private account. fellowship While we’re not CPAs, it was digital distribution. winners 

I mean for everyone. I invite 

at the same frequency or at the same rates, amazingly cool to see data presented in almost every artist, band, orchestra, songwriter, film 

but in the case John of iTunes, Kaefer moneyand is posted James to Woodward any way you wish winners — by title, by of country, the by Pete date, Carpenter composer, publisher, Fellowship record label, and distributor 

your account within 45 days of the end of each by period of time, by amounts, by number of to take a long look at our business model and 

MONTH, not Composers quarter. Once John you’re Kaefer live with and 

a digital store, James you can Woodward access your have secure been 

in his downloads, Calabasas by studio. currency Addition- and more. enjoys It was surfing also off the explore Southern the capabilities. in 1985 And to support at the same the creation, time, 

ally, very Kaefer easy serves to fill as in the a few Creative fields and California mail a check coast. imagine the possibilities.n 

performance, and study of music 

named the winners of the Director and a principal composer The BMI Foundation, Inc. is a through awards, scholarships, 

18th Annual Pete Carpenter for DreamArtists Studios, a film/ not-for-profit corporation founded commissions and grants. mn 

Fellowships, it was announ- television music production house 

ced by BMI Foundation Presi- based in New York. 

dent Ralph N. Jackson. 

Composer James Woodward 

is a native of California and be- 

Composer John Kaefer has been gan writing music in Wisconsin. 

recognized for his scores for film A string bassist and pianist, he 

and television, as well as for his studied composition with Stephen 

chamber, choral and orchestral Hartke, Ronald Foster and John 

concert works. He has composed, Downey. 

produced and orchestrated music His music has been performed 

for film and network/cable tele- by the Milwaukee Youth Symphovision 

projects, including Room ny Orchestra, the USC Symphony 

Service (starring Howie Mandel Orchestra, the United States 

and debuting at Sundance), To Army Orchestra, and other en- 

Get a Kill free A basic Bore listing (shown today at Cannes) on MUSE411 sembles – The across Music the United States 

and Dance School (documentary), and Europe. 

Industry Online Directory, and access the industry. 

among others. 

Woodward recently completed 

He recently worked with leg- writing the music for a short film 

Free endary basic listing BMI television includes: composer directed by Gentry Smith, is per- 

W.G. Snuffy Walden (West Wing, forming for various films and proj- 

• Your Studio name, 60, email, Friday phone Night and Lights) other contact ects in information the Los Angeles area, and 

• Link to your music demo 

• Your photo 

• Musical THE Styles PETE and Instrument(s) CARPENTER Played FELLOWSHIP 

• Professional Affiliations — Unions, organizations you 

• The Fellowship, open to aspiring film and television composers under the 

belong age toof 

35, was established by the BMI Foundation and Carpenter’s family, 

• A description colleagues of and you, friends your to honor bio, the and late much composer more whose credits include such 

television themes and scores as The A-Team, Magnum P.I., The Rockford Files, 

Special Hardcastle Zip and Code McCormick, search* Hunter allows and Riptide. people in 

your area to locate you quickly and easily! 

• Fellowship winners are given the opportunity to intern with renowned BMI 

composer Mike Post in his Los Angeles studio and meet with other distinguished 

theatrical, film and TV composers. A stipend for travel and living 

Get expenses your is FREE also part of basic the award. listing today! 

• Mike Post, Carpenter’s longtime writing partner, has penned some of the 

www.muse411.com 

most memorable theme songs in television history, including Hill Street Blues, 

The A-Team, Magnum P.I., NYPD Blue, Law and Order, L.A. Law, The Rockford 

Files, Quantum Leap and City of Angels. 

* U.S. RESIDENTS 

10 ISSUE 42 • DECEMBER 4, 2007 FILM MUSICweekly 

8 ISSUE 2 • FEBRUARY 12, 2007 FILM MUSIC weekly



CD REVIEW 

Jerry Goldsmith’s Classic 

Monster Music Finally Gets 

Its Due 

Title: Alien 

Composer: Jerry Goldsmith 

Label: Intrada 

Suggested Retail Price: $29.99 

Grade: A+ 

When you’re a kid, and watching your 

favorite sci-fi movie for the bazzilionth 

time, chances are you’re not going to notice the 

soundtrack’s choppy music edits, a smattering 

of cues that were recorded in the early 60’s, 

or what a classical suite is doing over the end 

titles. All that matters is that the soundtrack 

contributes to one of the most mesmerizingly 

scary experiences of your life. Hence, 

the fact that I’ve always enjoyed how Jerry 

Goldsmith’s score ended up in Alien- despite 

the fact that my idol considers it to be one of 

the travesties of his career- a score that was 

hacked, tossed, overdubbed, replaced, and 

replayed to within an inch of its life. 

Now the grievous musical “mistakes” of 

Alien director Ridley Scott and editor Terry 

Rawlins have been rectified by Intrada, who 

continue their ascent to soundtrack label godhood 

by releasing a new, painstakingly realized 

soundtrack to Alien. In two glorious discs, 

this Holy Grail release plays both to the score 

that was supposed to be in the film, and the 

still-brilliant mishmash that ended up as the 

soundtrack. While completists will still have 

to track down Goldsmith’s Freud and Howard 

Hanson’s “Romantic Symphony” to create an 

utterly complete Alien CD, Intrada’s release is 

as good as it will get for anybody but the most 

rabid, double-jawed Alien fan. 

In the liner notes by album co-producer 

Mike Matessino, this history of how Goldsmith’s 

best musical intentions ended up at 

the whims of Scott and Rawlins is fastidiously, 

and fascinatingly detailed, right down 

to the insane number of edits they did to his 

score- of which precious few cues ended up the 

way they were meant to be played. Sectioned 

off into Alien’s original score, its re-score, 

alternate takes, original release album and 

assorted bonus tracks, Goldsmith’s beast 

reveals that the maestro was second to none 

in his Avant Garde approach to the genre, of 

which his masterpieces include Planet Of The 

Apes, The Other, The Mephisto Waltz, Logan’s 

Run and his (only) Oscar-winning score to 

The Omen. Yet Alien starts off with surprising 

romance, lush strings and a lonely horn signaling 

the emptiness of the void, and the doomed 

bravery of its space truckers aboard the 

Nostromo, who first awaken from cryo-sleep to 

the fairy tale-like beauty of Goldsmith’s main 

theme. Then after one of the great-slow build 

planet-landing cues yet written, Alien’s fully 

symphonic approach gradually breaks down 

into eerie, dissonant passages, and heartpounding, 

modernistic strings - a brilliant 

approach that mirrors the heroes’ confidence 

breaking into pieces in the face of a monstrous, 

unkillable insect-thing from hell. 

The sounds that Goldsmith conjured in 

1979 still make this the Alien score (and film) 

to beat. Among his inventively creepy grab bag 

of instruments were wind machines, whistling, 

and the echoplex, its ghostly, repeated rhythms 

perverted from the noble intent that Goldsmith 

had first given them in Patton. Here, 

Goldsmith created a haunted house in space, 

conjuring dripping, gurgling and the spew 

of acid- yet making it all of its sonic effects 

musical in a way that today’s “crash-bang” approach 

to horror scoring can’t come close to. 

Yet as great as Goldsmith’s approach was, 

much of it was too big, too “movie-ish” for Scott 

and Rawlins. And the filmmakers’ intention 

to first make Goldsmith re-write several cues, 

and then beat down the entire score down to 

a more realistic, subdued tone seems justified 

when you watch the Alien DVD, which 

features Goldsmith’s original score synched to 

by dAnIeL sChWeIGeR 

dschweiger@filmmusicweekly.com 

picture. The opening title plays far better with 

the spare, melodic percussion that ended up in 

the film, a motif that was effectively tracked 

throughout the film, especially in the crew’s 

discovery of the space jockey’s derelict ship. 

Even what ended up for Dallas’ crawl through 

“The Shaft” has a scarier, more emotional 

build- though what you’re hearing is tracked 

in from Goldsmith’s 1962 score to Freud. And 

there’s something that seems a bit spookier, 

and reflective about using Howard Hanson as 

opposed to Goldsmith’s original, “we’ve won” 

end title. I prefer to think that an overall 

brilliant director like Ridley Scott knows what 

he’s doing- even if it’s at the expense, and 

outrage of Goldsmith (who’d come back for 

more punishment with Scott when his score 

got tossed in the American version of Legend 

– though I actually admit to preferring the 

dreamier Tangerine Dream version). 

But none of this is meant to slight the 

man who will probably be recognized in the 

long term as the best composer whose music 

was ever celebrated, or taken to pieces by 

Hollywood – a man who always challenged 

himself, and the audience with every score. 

And whichever musical approach you prefer 

for Alien, listening to Jerry Goldsmith’s score 

in its complete glory is an immersive, hypnotic 

experience that still terrifies. And almost 

thirty years later, Alien continues to stand as 

one of the best monster scores ever written. 

Finally, in space everyone can hear Jerry Goldsmith 

scream- but with delight this time, I’d 

imagine. n 

BUY THE CD HERE: 

•www.intrada.net 




THE CHART DOCTOR 

by ROn hess 

rhess@filmmusicweekly.com 

Trap Set Notation Basics: 

Give Your Drummer A Break 

Ah, drummers. ‘Twould be a dull world 

without ‘em. And the way they can be 

mistreated or neglected by composers, it’s a 

wonder we have them at all. Frequently and 

notationally, they are given the shortest shrift 

and yet are expected to be the most dominant 

force in the ensemble. Let’s look at ways 

to give them what they need to become our 

best allies in our war on lame rehearsals and 

performances. 

To begin with, let’s clear up the symbology. 

The “x’s and o’s” that make up your drummer’s 

notational language are frequently confused 

and often misnotated. Simply put, x’s are for 

cymbals (crash, ride, hi-hat, gongs, etc.) and 

some miscellaneous percussion, and ovals 

are for drums (snare, toms, kick, etc.) (See 

example 1.) Where they go is still somewhat 

a matter of debate, but the rough conventions 

are shown in example 1. Wherever you place 

the cymbals and toms, label them at their first 

appearance and stick to your scheme. 

Since drums don’t sustain, it’s not necessary 

to be hyper-accurate in your durations. 

Simplify. Always think readability. If the kick 

drum only hits on one and three, telegraph the 

quarter feel with nothing more precise than 

quarter notes and quarter rests (example 2A). 

Same for the snare, unless it’s rolling (example 

2B). For cymbals, include clues as to the 

amount of “ring” or precisely when they are to 

be hand-damped (example 2C). 

It’s always tempting to put a couple of descriptive 

words like “hard rock” and a bunch of 

slashes and count on your 

drummer to provide the 

magic that you’ve left out. 

In a word, don’t. Despite 

the jokes, your drummer 

is a musician; treat him 

like one. He’ll forget more 

about some aspects of ensemble control than 

you will ever know. Nobody has the power to 

hold your chart together, control its dynamics, 

or drive your audience than he does. As 

no other band member interacts so strongly 

with what everyone else is doing, he needs and 

deserves more score detail from which to work, 

not less. Give him the right amount of info 

and he’s yours for life. (Well, the life of the gig, 

anyway...) 

Make the road map of the composition 

clear with his page layout, 

just like any other player. 

Obviously, he doesn’t have 

key signatures, but lay out 

his page as if he did, with 

the beginnings of compositional 

subsections falling at the left margin 

(example 3A). As he’s only got two arms and 

two legs, and they’re usually busy, minimize 

page turns by going eight bars to the system 

through the use of single- and double-repeat 

bars (example 3B) and try to make them fall 

where he has a momentary free hand (example 

3C). For the reasons given above, absolutely 

complete dynamics are a must. 

To get him started, fully notate a bar or 

two of each section to make the “feel” clear. 

Descriptive words help, but can’t replace, that 

initial notation. It’s not that difficult. Carefully 

imagine exactly what you want him to 

play, and notate accordingly. Once you’ve 

established the style, use slashes or repeat 

bars and the words “cont. sim.” (continue 

simile) or 

simply “sim.” 

or something 

to that effect 

(example 3D). 

Punches and fills are a little more forgiving, 

and can be short-cut in a couple of ways. 

Major (tutti) ensemble hits can be indicated 

with slash/rhythm notation (example 4A). 

Lesser punches can be hinted at with cues 

above the running slashes (example 4B). Fills, 

almost by definition, do not need spelling out. 

Your drummer will intuit what the chart needs 

better than you probably can, but he does 

require precise indicators of where and how 

long (example 4C). 

Of course, this is just a beginning. To 

complete your education, ask drummers you 

encounter to take a moment and point out 

well-notated charts in their books and, if 

there’s time, ask what the player likes about 

them. Do a quick analysis, keeping in mind 

what we’ve discussed above. In actuality, 

despite our many discussions on the importance 

of sight readability in the studio, it’s 

even more important on the live gig, where 

rehearsal time is even less certain. Make that 

your standard.. 

n Ron Hess works as a studio conductor, orchestrator, 

copyist and score supervisor in Los Angeles, where 

he’s well-known for his quick ability to ferret out the 

most hidden performance problems and spot score 

glitches rapidly. He holds a Master’s Degree from the 

New England Conservatory, and is considered one of 

the top Finale experts in Los Angeles. 

Email Ron at rhess@filmmusicweekly.com 




MUSIC TECHNOLOGY 

by PeTeR LAWRenCe ALeXAndeR 

palexander@filmmusicweekly.com 

Doug Rogers– Why It’s Time to PLAY 

I was able to catch 

up with Doug 

Rogers, president 

of EastWest, right 

after Thanksgiving 

to find out more 

about the new 

PLAY player and 

what to expect for 

implementation on 

both the Mac and 

PC platforms under 

64-bit. 

A native New Zealander, with 30 years experience 

in the audio industry, Doug Rogers is the 

recipient of many recording industry awards 

including “Recording Engineer of the Year.” In 

2005, “The Art of Digital Music” named him 

one of “56 Visionary Artists & Insiders” in the 

book of the same name. 

In March 1988, he founded EastWest, the most 

critically acclaimed sound developer in the 

world, and recipient of over 50 industry awards, 

more than any other sound developer. 

Customers already using QLSO and 

Symphonic Choirs are wondering when 

to expect the first PLAY update. Do you 

have a projected release date? And will 

either QLSO or Symphonic Choirs have 

forthcoming updates? 

We are making no projections currently, we are 

improving both products because of the features 

in our new software engine PLAY, and it’s 

a lot of work. EWQLSO will be released first. 

Given the stress and investment of 

software development, why did you decide 

to go forward and create your own 

player vs. licensing from other companies? 

How do you see customer support 

changing because of that decision? 

We had no choice. OEM software tends to be 

a cookie-cutter, one-size-fits-all solution. We had 

specific requirements, and we knew we need 

to take the programming to the next level, so 

developing the software ourselves became a 

necessity. Of course, with this comes a lot of 

cost and support, but if we want to stay at the 

forefront of this business, we have to do it. 

Could you explain what NETWORK 

CONTROL is? For freestanding machines, 

is this like your own V-Stack or Forte; 

your own version of FX Teleport or 

MIDIoverLAN? 

It’s closer to V-Stack than FX Teleport; we’re not 

moving audio, just providing control from the 

master PLAY application (by selecting interface 

2, 3, 4 and so on in the menu) that will enable 

you to load and change anything on the interface 

on a second, third, fourth etc. computer from 

the host interface. 

With 64-bit and PLAY, are you seeing 

that rather than having multiple “farm” 

PCs like we do now, that we’ll be seeing 

a more “server” solution where you’ll 

have an EastWest machine (singular) 

housing QLSO, Symphonic Choirs, etc.? 

We think both are an option. The power users 

want everything live, so they will probably fill 

each computer with RAM (16GBs is the practical 

limit currently due to hardware restrictions) 

and continue to use slaves as well. We believe 

for the first time it will be possible to run the 

entire orchestra live, and that has been a dream 

of our power users from the beginning. For everyone 

else, they will be able to load a whole lot 

more instruments than they ever could before. 

Being able to demo and buy online is 

a very bold concept. What was behind 

that decision and when do you expect 

to implement it? 

We’ve experimented 

with online delivery 

since 1995 when 

we first launched 

soundsonline.com. 

However, now we 

think we have a much 

more elegant solution 

that will interest our 

customers more. This 

is another benefit of 

controlling our own 

software development. 

Can you explain 

a little bit about 

Mic Mixer and 

Space Control? 

The Mic Mixer is 

simply putting the 

three simultaneous 

mic positions for the 

orchestra, choirs and pianos on the interface so 

the user can both turn them on/off individually, 

and mix them as if they had a physical mixer. 

This is how we wanted it from the beginning, 

and another example of why we needed our 

own software. 

Space Control is now called “reverb.” This is 

no ordinary reverb however, it is convolution 

reverb that we sampled ourselves in the hall we 

recorded the orchestra and choirs in plus we 

sampled EastWest Studios and its live chambers, 

and many other great sounding spaces. 

In the original releases there are 19 options and 

we’re adding more. 

Lastly, we’ve been reading on the 

forums about the new String Library 

you’re recording. Can you give us a 

peek into the future and tell us a little 

more about that? 

Since our studios are currently closed for remodeling, 

this is going to be a 2008 project. Our 

intention is capture strings in the large studio 1, 

which has the most incredible acoustics. These 

are not designed to replace our current strings, 

but to provide an option of a smaller space. 

n Peter Alexander is preparing to score The Good Samaritan. 

His most recent books are How Ravel Orchestrated: 

Mother Goose Suite, and Professional Orchestration. He 

has also written White Papers on music education.

Weekly - Film Music Magazine

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