For Massari, the segue into DVD work from features was organic. “I had a long working relationship with the Disney Studios (he created the theme for the company’s seminal “Wonderful World of Disney”). When the DVD format came along and Touchstone decided to do bonus segments for ‘Mission to Mars’ and ‘Gone in 60 Seconds,’ it seemed like a natural fit,” he said. However, the composer is quick to point out that an extended working relationship with a big studio or major independent isn't necessary for newcomers or vets looking for DVD work.
Here's his advice on how to land and score the assignments effectively:
Cultivate relationships with the picture editor
“Consider all the editors on both independent and
studio projects that you've worked with who like your material,” said Massari. “Give them a CD or audio file of your best
music—I always take time in between jobs to create
new music that I can use
for this purpose or apply the new musical material
with a new project and most
helpful, as a life saver when challenged with a
looming deadline!” There's valuable logic in this.
“DVD editors, as all editors, need new musical
material to lay down as a temp track for bonus
segments on projects. If they like what they hear,
they'll play it for the producer, which can act as a
great introduction and lead to one or more job
opportunities.”
Be prepared to create short pieces of original music DVD bonus segments usually clock in within the thirty to ninety-second range. Though musically it doesn't seem like much, the composition can make or break a DVD’s popularity and dictate sales figures.
Strive for emotional impact
“It's easy to overlook,” said Massari, “especially
when you're scoring short pieces. Endeavor to resonate
on a level that heightens the drama or tightens the
intensity of the action. Producers recognize the
composer who can achieve this goal. Accomplish this
and you'll get called for repeat business.”
Rediscover your sample library
“Push your sampler to its limit to create singular
sounds that will standout and grab the viewer in a
short window of time,” advises Massari, who sources
from over 100 CD-ROMs and uses the Roland 700 series
and the Giga Sampler as his primary sample platform.
“I go through and set up a palette of samples when
preparing to score a project. I’ll draw from this
palette as part of the composing process. Whatever
sample plays the music most faithfully and effectively
gets utilized.” One of the interesting byproducts of
working in this fashion is that he continually
rediscovers sample sounds and finds innovative ways to
use them. “That's how I created those popcorn-like
sounds for ‘Killer Klowns,’ the sparkling, whirling
sounds for ‘The Wonderful World of Disney’ theme, and
the plaintiff mourning bell-tones used in the Cable
Ace nominated ‘Ray Bradbury Theater’ episode ‘The
Banshee.’ These are musical sounds, not sound
effects.”
A full orchestra sound is attainable without an
orchestra?
Working individually, Massari has created full
orchestra sounds by using the latest sample libraries
that the developers from Unisync, Ilio and East West
have to offer. He sequences with a Digital Performer,
utilizes samples from his own personal CD sample
library, then takes the sounds and midi sequences to
their most extreme and complex level at times using
over 100 midi sequence tracks. The result: A realistic
virtual orchestra.
When composing for the “virtual” orchestra you must have a strong foundation in orchestration This not only requires cracking open a few hundred music scores but also seeking out the knowledge of living masters of orchestration that can impart their technique and experience. Said Massari, “Attending concerts performing a work that you are very familiar with is a great education. Seeing an orchestra perform a work will give you yet another insight to the art of orchestration. Listen, listen then keep on listening!” He cautions against creating a midi track that will prove awkward for actual live musicians. “Your virtual score should translate in both the midi and real world. However, don't let that stop you from doing the complete opposite... I break the rules all the time, that's why God created midi!”
Use a live orchestra with midi effectively
Sometimes a production budget will not afford a full
orchestra. When supplementing samples with a live
orchestra use the parts of the orchestra that dominate
the score is Massari’s rule. “If I compose a score
that is heavy on strings I will not hire brass or
woodwinds. I'm going to work with the section that my
samples perform with the most musically expressive
impact.” He doesn't prefer checker-boarding. For
instance, hiring a few instruments from every section
of the orchestra. “You don't get the same impact as
you do when you have an entire family from the
orchestra complimenting your most
realistic samples. However, every situation is
different, keep innovating.”
Case Study
“I was commissioned to compose an orchestral suite for
a series of DVD featurettes titled ‘The Disney Studio
Album.’ The initial demos were composed using samples
only. When all music material was approved I had to
make some serious decisions on what family of the
orchestra were to remain in the midi domain and what instruments were to be awarded to human beings.
Since all of my woodwind samples are extremely
realistic with all their ornamentation, trills and
flourishes, my percussion had all the impact that I
could ask for and the warmth and expressive strength
of my Viole, Celli and Contra Basses being excellent
(Thanks Peter Siedlaczek and Miroslav Vitous for your masterfully crafted samples) I decided to employ a full Brass and Violin Section. The result...quite rewarding.”
John Massari began his career in music as an orchestrator under the tutelage of his mentor, composer Jerry Fielding, for Universal's TV MOW, "High Midnight." Additional film credits include HBO's “The Ray Bradbury Theater,” “The Wonderful World of Disney” theme and MGM’s cult classic “Killer Clowns From Outer Space.” He also freelances for commercial music production house Ear to Ear and his music has been heard in commercials for companies including Nextel, Pontiac and IBM. He is currently at work on music for Disney's DVD issue of vault classics, including “Old Yeller,” “Swiss Family Robinson” and “20,000 Leagues Under the Sea.”
An extensive sample CD of his work is available upon request, e-mail: jnmassari@aol.com