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Exclusive interview
Tutorials
Johan Sderquvist
sample libraries
2016
#07
MULTISAMPLING
COMPETITION
04
06
Johan Sderqvist
In this exclusive interview, Reuben Cornell talks to Swedish
film composer Johan Sderqvist known for, amongst others,
Let the Right One In and Kon-Tiki.
to NAMM 2016.
14
SPEED FLiX
03 Editorial
24 Colophon
Production.
OTHER
18
Composing Award
original Sonokinetic cinematic
Johan Sderqvist
23
ON THE COVER
NAMM
TOP 3
16
CEO editorial
of affairs at Sonokinetic. What
NAMM 2016
MULTI SAMPLING
MADNESS
A BIG STEP FOR SONOKINETIC INTO NEW AND EXCITING TERRITORY
logical that the next big step for our company lies in
tion process into this project, and I must say the first
Son Thomsen
CEO, Sonokinetic BV
GET THE
FRIGHT ONE IN
Although most well known for his thriller and horror scores, Johan Sderqvists 25-year career has
touched every film genre imaginable. After completing work on season 3 of Nordic Noir blockbuster
The Bridge, we talk pressure, partnerships and pulverizing pianos
Welcome Johan. What have you been working on?
Right now Im scoring a new Swedish TV series
based on a book, following that trend of Nordic
Noir. Since we did the first season of The Bridge
there have been many Nordic spin-offs but I would
say that this is very different. The Bridge has no
light or color and pretty bleak but this new show is
set in the spring / summer so its a more colorful
version of noir. That reflects in the music, as its a
warmer sound. Its hard to predict how it will go,
as Im in the middle of it right now. Im not sure
what the title will be in English but the Swedish
translates as Spring Tide
two weeks)
Kon-Tiki (2012)
Nordisk Film
Kre Hedebrant
in Let the Right One In
Lt den rtte komma in (original title)
EFTI
Reuben Cornell
Island of Electronicus
by Moog
A r c a d e ( g a m e s o u n d s )
b y Te e n a g e E n g i n e e r i n g
Software Libraries
Naturally, viewing software instruments was high on my
list of priorities and interest. I met up with Mike Greene
from RealiTone, who had on display RealiDrums, a very
versatile drum library with a range of different drums and
cymbals, hi hats, kicks, toms, crashes and rides which
could be selected. Mic mix options were also available
with a choice between close, room, rock or beast.
Included was a groove generator with loop menu and a
unique feature is the complexity slider which can control
each instrument and making it more or less complexed
within the loop. Furthermore, MIDI can be dragged into
a project. I had previously only met Mike virtually when
I created a demo for his beautiful vocal Realivox Blue
library, as is often the case in our business, so it was nice
to take a little face-to-face break at his booth and chat
over chocolate brownies, which were also very welcome. It
was such a nice surprise to bump into Samuel Estes from
Sonicsmiths and catching up with him. Sams powerful
sound design instrument The Foundry was on display at
the Big Fish Audio Booth.
I made my way past Orchestral Tools and caught up
with Sascha Knorr who kindly gave me an in-depth
M E I N L G o n g s , Ta m Ta m ,
SingingBowls
Mike Greene
f r o m R e a l i To n e
TRACK TECHNIQUES
WRITING FOR VIDEO GAMES USING SAMPLES
Game music has come a long way since the first bleeps
of Space Invaders. Nowadays youre more likely to hear
an orchestral score than an old-school chip-tune. There
are several different ways to write music for games. For
the purposes of this tutorial Im going to concentrate
on the process of composing dynamic music which
adapts as the action on screen progresses. This type of
music is completely different to normal film scoring as
it has to be written in short loops or stems which can
be mixed live by the game engine.
The first thing to know when embarking on a video
game writing project is the type of audio middleware
the developer will be using and how will your music
fit into that software. Its likely theyll be utilizing either
FMOD or Wwise to organise sound effects and audio
cues, although some developers may have their own
in-house tools. A basic knowledge of an audio engine is
the least you need to get started in game audio design.
Watch the extensive tutorials online provided by the
developers and download demos so that you know
your way around the interfaces.
MUSIC
FOR MOTOR SPORTS FILMS
or a proper racing film all you need is the revving of V16 and ultra
closeup of the drivers concentrated stare. Though some composers
have nailed it to perfection with their film score for the fastest films
out there. Here is our highly subjective top 3.
RUSH
A very stylish film by Ron Howard with a beautiful score by Hans Zimmer.
An exciting movie with a the grand orchestrating by Hans and his team make
this an epic speed flic to remember for both music and film.
SENNA
Not only the movie left an everlasting impression on us, the way this
masterpiece is scored is an absolute lust for the ears. We find that in all Antonio
Pintos work Brazilian music and traditional instruments are a key feature and
no movie (beside City Of God perhaps) is more suitable for the way this soundtrack is
crafted. The Main theme and chasing themes deserve a pole position in Film music
history. Well done Antonio!
LE MANS
This Oldtimer by Michel LeGrand stands out on all fronts. This real 70s score is
a time period piece but stand the test of time. Were recently watched it again
and the blend of Jazz orchestraion and harmonization with a symponic orchestra
really speaks to us. The whole production of this film might have been a trainwreck,
but its like a good wine, the longer you wait, the better it gets. This one sure is a
Grand Crux by mr. LeGrand. Go listen, then watch...
COLOPHON
PRODUCTION
Sonokinetic BV
EDITORIAL
Rob Vandenberg
Son Thomsen
Reuben Cornell
Marie-Anne Fischer
Sophie Wolke
Ken Black
Art Director Sonokinetic BV
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