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While SCL seminars and events are now available for download as mp3 files, many older items are abridged versions of the full-length seminars avaailable on CD. Time was cut out by omitting long pauses, applause, general announcements, etc. However, some content has also been omitted, and those interested in the most complete version may prefer to buy the CDs.

Events that have been split into multiple files (part A, part B, etc) are complete versions of the event.

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#8001 Agents: A Necessity or An Alternative

• Bruce Broughton moderated this discussion about the pros and cons of having an agent, how to get an agent, the difference between agents and managers, and typical commission rates. The panelists were agents Stan Milander and Larry Marks, and composer Joe Conlan. This seminar took place on May 15, 1990.

#8002 Alan Silvestri

• October 15,1997 Director's Guild Of America Hollywood, California Alan Silvestri begin his presentation by showing excerpts from "Forrest Gump" and "Contact". With both examples he first screens the scene without music, followed by the same scene with his score. This provides a basis for him to discuss his approach to scoring a specific scene, how he makes choices, the emotional map of a musical cue, and the need to support the character in a dramatic film.
• Mr. Silvestri invites questions from the audience which concerns topics such as working with pianos and synthesizers, being clear about your choices, anticipating the final mix, and understanding directors.
• Early in his career, Mr. Silvestri wrote for the TV series "CHiPs". He has since scored over 80 films, including "Cast Away" (2000), "Stuart Little" (1999), "The Parent Trap" (1998), "Volcano" (1997), "Grumpy Old Men" (1993), "Death Becomes Her" (1992), the "Back to The Future" films, "Who Framed Roger Rabbit" (1988), and "Romancing the Stone" (1984). In 1994 Alan Silvestri received an Oscar nomination for Original Score for "Forrest Gump".

#8003 Danny Elfman

• February 17, 1999 Director's Guild Of America Hollywood, California This is an opportunity to hear Mr. Elfman's story and experience in his own words, told with engaging honesty and philosophical humor. The interview was conducted by SCL member, Jerry Grant.
• Mr. Elfman touches upon subjects such as how he approaches a new film, working with temp scores, the importance of setting the tone of the film at the very beginning, communicating with directors, his transition from the acoustic world to the MIDI world, and the "non-process" of writing the score. Many lively anecdotes include his edgy experiences on the scoring stage and the horrors of the dubbing process.
• Danny Elfman's scores include "Sleepy Hollow" (1999), "Good Will Hunting" (1997), "Men in Black" (1997), "Mars Attacks!" (1996), "Mission: Impossible" (1996), "Dead Presidents" (1995), "The Nightmare Before Christmas" (1993), the "Batman" movies and "Beetlejuice" (1988). In 1997 he received Oscar nominations for "Good Will Hunting" (Original Dramatic Score) and "Men In Black" (Original Comedy or Musical Score).

#8004 Elmer Bernstein

• 1993 Director's Guild Of America Hollywood, California Elmer Bernstein begins his presentation by giving a personal account of his life that led to scoring films, tracing his steps from a young concert pianist, through his time in the Air Force during World War II, to writing radio music and eventually getting to score his first film, "Saturday's Hero" in 1951. As his presentation continues he gives advice to composers starting out in their careers, emphasizing how important it is to make an effort to meet film makers, to present oneself well, and to insist on personal representation. He then spoke about the relationship between the composer and the director. The seminar concluded with a question and answer session.
• Mr. Bernstein has scored over 200 films. In 1967 he won an Academy Award for Original Score for "Thoroughly Modern Millie". He also received nominations for "The Man With The Golden Arm" (1955), "The Magnificent Seven" (1960), "Summer and Smoke" (1961), "Walk On The Wild Side" (1962, song), "To Kill A Mockingbird" (1962), "Return Of The Seven" (1966), "Hawaii" (1966, score and song), "True Grit" (1969, song), "Gold" (1974, song), "Trading Places" (1983) and "The Age Of Innocence" (1993).

#8005 James Newton Howard

• 1996 Director's Guild Of America Hollywood, California James Newton Howard begins the evening by giving a sketch of how he found his way into film scoring, starting out as a classical pianist, playing in garage bands, and eventually getting a break playing and arranging music for Elton John. As the evening progresses, he responds to questions from the audience. He speaks about working with orchestrators, being close to getting fired, studying and learning from mentors, his reaction to the first time he was ever asked to rewrite a cue, and his views on 'spotting sessions'.
• Mr. Howard's scores include "Snow Falling on Cedars" (1999), "The Sixth Sense" (1999), "Runaway Bride" (1999), "A Perfect Murder" (1998), "My Best Friend's Wedding" (1997), "Grand Canyon" (1991), "The Prince Of Tides" (1991) and "Pretty Woman" (1986). He received Oscar nominations for "My Best Friend's Wedding" (Original Musical or Comedy Score), "One Fine Day" (Original Song), "Junior" (Original Song), "The Fugitive" (Original Score) and "The Prince Of Tides" (Original Score).

#8006 Jerry Goldsmith

• February 16, 2000 Director's Guild Of America Hollywood, California Jerry Goldsmith began his presentation by relating the story of his musical career. The centerpiece of the evening was showing the opening, the middle, and the final scenes from "Basic Instinct", and his discussion of his approach to the score.
• ** The audio recording of this event is rather poor--however, we have made it available to those who are interested due to the important nature of the material**
• In 1976 Jerry Goldsmith won the Academy Award for Original Score for "The Omen". He has received a total of 17 Oscar nominations for "Mulan" (1998), "L.A. Confidential" (1997), "Basic Instinct" (1992), "Hoosiers" (1986), "Under Fire" (1983), Poltergeist (1982), "Star Trek – The Motion Picture" (1979), "The Boys From Brazil" (1978), "The Omen" (1976, Original Song), "The Wind And The Lion" (1975), "Chinatown" (1974), "Papillon" (1973), "Patton" (1970), "Planet Of The Apes" (1968), "The Sand Pebbles" (1966), "A Patch Of Blue" (1965), and "Freud" (1962).

#8007 Leonard Rosenman

• Taking examples from his scores to "The Bible" and "Crosscreek", Mr. Rosenman discusses two extremes in scoring drama: music under continuous dialogue, and music where there is no dialogue at all.

#8008 Music Supervision

• The Art of Songs, Scores & Relationships – a timely discussion on the ever-changing dynamics of music supervision in film and television. The distinguished panel includes: Dan Carlin, Music Supervisor and CEO, Segue Music – Tim Sexton, Music Supervisor, Magstripe Entertainment – Dana Sano, Senior Vice President of Music, New Line Cinema -Harry Garfield, Senior Vice President of Music, Universal Pictures – Bill Ross, Composer

#8009 Performing Rights I

• Jay Chattaway's first seminar as new president of the S.C.L. moderates a panel consisting of : Todd Brabec, Sr. V.P. ASCAP, Vincent Candilora ASCAP V-P. & Director of licensing, Michael O' Neill BMI ASS. V.P. for Media Licensing, Allison Smith BMI V.P. for Media Licensing, Pat Rogers SESAC Sr. V.P., Pat Collins SESAC Sr. V.P. of Licensing, Steve Winogradsky Music Attorney – A discussion of how source, direct and per-program licensing agreements with broadcasters can affect our careers.

#8010 Exotic Flavors: Steel Drums

• March 13, 2003 Professional Musicians Local 47 Hall (AFM)
• Through performance and discussion, this seminar featured the unique instrumental mastery of Joseph Peck onsteel drums.
• The steel drum is popularly considered the national instrument of Trinidad. Fashioned from steel barrels, the "pans"—the common name for steel drums —are hand-hammered and tuned in several patterns including the rhythm, ping pong, second pan, cello, guitar, and bass patterns. Joseph Peck demonstrated a variety of pan types, covering both traditional and experimental uses of the instrument, with detailed discussion of the tunings, performance techniques, and notation. He also performed compositions for steel drum and jazz ensemble (performed with his quintet). Helpful handouts were provided.

• August, 1995 Director's Guild Of America Hollywood, California This seminar presents a very personal account of Thomas Newman's composing career, coming from the perspective of someone born into a family of film music giants.
• Mr. Newman talks at length about his ambivalence about entering the film music arena, reflecting, for example, on his uncle Lionel's demand that he "live up to the Newman name". He relates his first experience scoring a film, "Reckless" (1984). He reveals his personalaccount of what it was like to work with Robert Altman on "The Player" (1992). Although a very difficult experience, Mr. Newman considers that it made him "better equipped" for his work.
• During the course of the seminar Mr. Newman discussesclips from "The Player", "Flesh and Bone" and "The Shawshank Redemption". He answers many questions on topics such as emotion in music, instrumentation of the main theme of "The Player", and whatit takes to write good music.
• Thomas Newman has received Oscar nominations for "American Beauty" (1999, Original Score), "Unstrung Heroes" (1995, Original Musical or Comedy Score), "Little Women" (1994, Original Score) amd "The Shawshank Redemption" (1994, Original Score).

#8012 The Voice as Instrument and Soul

• February 11, 2003 Professional Musicians Local 47 Hall (AFofM)
• THE SOCIETY OF COMPOSERS AND LYRICISTS presents the Seminar "THE VOICE AS INSTRUMENT AND SOUL, COMMUNICATING WITH THE SINGER" featuring Grammy Winner & SCL Member DARLENE KOLDENHOVEN with Special Guest JEREMY LUBBOCK and other panelists to be announced.
• Topics covered will include: Getting what you want out of the the singers; vocal capabilities; terms used in communicating with the singer(s); range; phrasing; melodic writing; notation; mic techniques; unusual use of vocals in film score; singers and songwriting; vocal styles; and foreign vocal styles.

#8013 Dealing With Packages

• Composers Nan Schwartz Mishkin, Bruce Miller, and John Debney present their own experiences producing scores within the contraints of a packaged budget. Projects discussed range in budget size from $10,000 to $60,000 and include detailed breakdowns of their costs and experiences in organizing and managing the production of their scores. The seminar took place in 1991.

#8014 Bruce Broughton

• 1994 Director's Guild Of America Hollywood, California Bruce Broughton titled this evening "Styles and Methods". He chose to talk about what he finds interesting about what he does – all the different styles that he gets to work in. He likes to be "a moving target musically". He begins by saying that composing for film is a special kind of work where one composes "with handcuffs on, composing with constraints". He claims that you don't have to be a great composer to be a great film composer. Broughton gives a little of his background, describing his growing up in a very musical family. He himself is a pianist with strong sight reading chops. Straight out of college he landed a 10-year job as assistant music supervisor at CBS, a "cue picker". From there he went into writing for numerous television shows such as "Quincy", "Dallas", "How The West Was Won", "Hawaii Five-O", "Barnaby Jones", and other westerns, soaps, police dramas and animation. The first of his feature film work discussed was "Silverado", for which Mr. Broughton was nominated for an Oscar. This was the pivotal film that led him to score many more theatrical features. The long list includes "Lost in Space" (1998), "A Simple Wish" (1997), "Holy Matrimony" (1994), "Miracle on 34th Street" (1994), "Baby's Day Out" (1994), "For Love or Money" (1993), "Homeward Bound: The Incredible Journey" (1993), "Tombstone" (1993), "So I Married an Axe Murderer" (1993), "Off His Rockers" (1992), "Honey, I Blew Up the Kids" (1992), "The Presidio" (1988), "The Boy Who Could Fly" (1986), and "Young Sherlock Holmes" (1985).

#8015 Composer For Hire

• A panel of music industry professionals discuss the many issues involved in selecting and working with composers and lyricists in film and television. Featured guests are Chris Montan, Senior VP Music at Walt Disney Studios; Doug Frank, VP Music, Warner Bros.; and Maureen Crowe, an independent music supervisor. The seminar took place in 1993.

#8016 Meetings: Creative vs Business

• Composers Bruce Broughton, Mark Snow, Patrick Williams, Richard Bellis and music supervisor Ron Gertz discuss strategies for meetings with filmmakers.

#8017A Launching Your Film Scoring Career

• Whether you're an experienced composer or someone just starting out, this panel of experts will guide you through the many creative, technical and business issues that are essential to getting up and running in today's work environment. Panelists include composers Lee Holdridge, Penka Kouneva, Craig Stuart Garfinkle, and attorney Jeffrey Graubart. Moderated by composer Alex Shapiro. Recorded March 30, 2004. Part one of two parts

#8017B Launching Your Film Scoring Career

• Part Two

#8018 Writing Music For Video Games I

• Recorded May 15, 2003, at the Los Angeles Film Institute. Experienced composers, who have written for games as well as film and television projects, engage in a lively panel discussion with game developers and an agent who represents the top composers in the game business. As a group, they discuss bridging the gap between the film/television and gaming worlds, developing new techniques and technology, approaches to writing for different formats, and the business of being a composer in the world of games. Featured panelists include:
• RUSSELL BROWER – Composer, Audio Director/Novalogic. MICHAEL GIACCHINO – Composer "Medal of Honor" (games), "Alias" (TV). BILLY MARTIN – Composer "Treasure Planet" (games), "Entertainers" (TV). DANNY PELFREY – Composer "Star Trek" (games), "American Dreams" (TV). BOB RICE – Agent/Four Bars Intertainment. SCOTT SNYDER – Audio Director/Atari (Atari is releasing "Enter the Matrix" game on May 15th). JACK WALL – Composer "Myst III: Exile" (games), Senior Director/Game Audio Network Guild. Moderated by GREG O'CONNOR-READ – Journalist, Director/Music4Games.net.

#8019A Writing Music For Video Games III

• Recorded May 19, 2005, at the American Film Institute. An in-depth look at several recent games, from the unique perspective of several different composers. Panelists will give an inside look at their latest game projects, demonstrating the techniques and methods used to write and produce music for interactive media. Featured panelists include Composer Billy Martin (Moderator), with Composers Marty O'Donnell (Halo series), Tom Salta (Cold Fear), Garry Schyman (Destroy All Humans), and Jack Wall (Jade Empire).

#8019B Writing Music For Video Games III

• Part two.

#8020A Writing Music for Video Games IV

• Recorded May 9, 2006, at the American Film Institute. This is an in-depth look at the BUSINESS of writing music for video games, presented by gaming professionals. It will help bring some answers into focus thatcan help you findsuccess in this rapidly-maturing industry. A distinguished panel, along with some very special guests and resources offer up their knowledge and experience regarding contracts, publishing, making deals, budgeting and more.
• RUSSELL BROWER is a Composer and three-time Emmy-winning Sound Designer, with over 25 years of experience creating and producing sound and music for television, film, theme parks and video games. He is currently the Audio Director for Blizzard Entertainment, developer of the award-winning MMORPG game, WORLD OF WARCRAFT.
• JIM CHARNE is a California, New York, and New Jersey lawyer who has provided legal representation for clients in all phases of interactive software entertainment since the mid-1980's. He served as the first President of the Academy of Interactive Arts and Sciences (AIAS) from 1998 to early 2001.
• LENNIE MOORE has composed music for ten films, orchestrated on dozens of feature films and TV movies, and over 120 commercials. His videogame credits include Outcast (2000 AIAS Best Music Nominee), War of the Ring, Plague of Darkness, and most recently, Dragonshard. He is currently teaching Composing Music for Videogames at UCLA Extension in-between writing assignments

#8020B Writing Music for Video Games IV

• Part two.

#8021A Writing Music for Video Games II

• Recorded May 13, 2004, at the American Film Institute. Showcasing the extra-musical skills, techniques and production challenges faced by some of the finest composers in game music today, panelists discuss their latest game projects, from pre-production through implementation, illustrating what it takes to successfully write and produce music for interactive media.
• RUSSELL BROWER – Composer and Audio Director, with 23 years experience in TV, film, theme parks and games. A three-time Emmy Award winner, he workedas a media designer and musical director for Walt Disney Imagineering. At the time of this seminar, he was the audio director at NovaLogic, where he scored DELTA FORCE – BLACK HAWK DOWN, among others. He addresses the issues regarding the technical implementation of game music.
• LAURA KARPMAN – Composer of numerous films, television movies & series, documentaries, and multi-Emmy winner along with numerous other prestigious awards. Since she composed the music for EVERQUEST II, Laura reviews some of the challenges of composing for realtime online games.
• BILLY MARTIN is a Board Member of the SCL, and an award-winning composer and songwriter who has written songs and scores for thirty games. Some of his credits include TARZAN UNTAMED, SPY KIDS 3D: GAME OVER & THE BOOK OF POOH. Billy covers techniques for songwriters in game music.
• INON ZUR is an award-winning composer and producer of dramatic music for film, television and video games. Some of his credits include MEN OF VALOR, SHADOW OPS, EVERQUEST, SOCOM II, SYBERIA II & BALDUR'S GATE. He discusses ways to maximize interactivity of music in games.

#8021B Writing Music for Video Games II

• Part two.

#8022 Exotic Flavors: Karen Han, Erhu

• Recorded May 23rd, 2006. The Society of Composers & Lyricists presented the continuing Seminar Series Exotic Flavors: A Practical Guide to Writing for Ethnic Instruments. Through performance and discussion, this seminar featured the unique instrumental mastery of Karen Han on the Erhu and related instruments. Ms. Han is recognized by audiences around the world for her mastery of the Erhu with a diverse repertoire from Western Classical to Jazz.

#8023 Managing Your Business As A Composer

• In this seminar Dean Grinsfelder moderates an informative discussion about the financial, legal and administrative aspects of the music business. Approximately a half an hour is devoted to three subjects: organizing and running your business, marketing and working with clients, and dealing with financial and administrative issues. This is followed by a question and answer session with the panelists. The panelists are Jonathon Wolff, Scott Edel, and Neal Hoffer, CPA/PFS. The seminar took place in 1997.

#8024A Low Budget Contracts

• The purpose of this seminar is to explore the issues associated with filing union contracts for low budget and/or independent projects. By presenting common project scenarios and analyzing them with the panelists, this seminar offers composers and musicians insight into the latest possibilities under the new low budget agreements.
• MARK ADLER (Film & TV Composer, SCL Board Member) discusses creative ways to work under the low budget agreement for indie features and TV. His feature scores have used both chamber orchestras to ensembles upwards of 40 players. He will share his experiences—both successful and otherwise—in getting indie filmmakers to go union with their scores.
• MIRIAM CUTLER – Moderator (Film & TV Composer, SCL Board member) composes primarily for independent film, documentary, and public and cable TV that fall into the low budget category. She poses real-world questions exploring some of the obstacles facing indie composers who want to work under a low budget agreement.
• DENNIS DREITH (Administrator Special Payments Fund) explains the special payments fund, assumption agreements and secondary markets, and offers guidance for convincing filmmakers and TV/Film producers to sign on. Dennis is the acknowledged expert in strategies to get producers to become signatories so that a union contract can be filed.
• BENOIT GREY (Film & TV Composer, SCL Board Member) In addition to composing and orchestrating for TV and film, Benoit has a background of contracting orchestras. He discusses the nuts and bolts of the low and new ultra-low-budget agreement in terms of cost and benefit for composers and musicians, including how to navigate the paperwork.
• Recorded 6/13/2006

#8024B Low Budget Contracts

• Part Two.

#8025A Exotic Flavors II

• Recorded August 28, 2001 Through both performance and discussion, this seminar features the unique instrumental mastery of OMAR FARUK TEKBILEK.
• He provides an in-depth look at Sufi, Folk, and Contemporary Middle Eastern music. speaking in detail about the following instruments:
  • Nay – bamboo flute
  • Zurna – a double-reed, oboe-like instrument
  • Baglama – long-necked lute
  • Darbuka – Turkish drum
• There are many good examples of rhythmic patterns and melodic figures, and discussion of the difference between traditional Western and Middle Eastern scales. By exploring many of the rich colors and textures that are available in these extraordinary instruments, you will learn how to incorporate some of these non-traditional sounds into your scores more effectively by better understanding the correct ranges, timbres, and playing techniques.

#8025B Exotic Flavors II

• Part Two

#8026A Team Composing with Shirley Walker

• Go behind the scores with pioneering Composer / Orchestrator / Conductor SHIRLEY WALKER. From her groundbreaking work as composer of such film scores as Final Destination, Mystery men, Escape from L.A., and Batman: Mask of the Phantasm, to her TV scores for The Others, the Batman and Superman animated series, and Spawn, Shirley Walker has developed a signature, high-energy, big-action style.
• She recalls her first big break as a synthesist on Francis Ford Coppola's 1979 feature Apocalypse Now and discusses her highly-respected work as an orchestrator / conductor on such films as A League of Their Own, True Lies, and Defending Your Life, among many more.
• Meet SHIRLEY WALKER's team of composers, with whom she won this year's Daytime Emmy for Outstanding Achievement in Music Direction and Composition for Batman Beyond:
  • MICHAEL McCUISTION
  • LOLITA RITMANIS
  • KRISTOPHER CARTER
• Get inside the team composing concept as they discuss their uniquely successful collaborations. They discuss how are the projects divided, whether certain composers have particular specialties, and how changes in the industry affect how they approach their work.
• Recorded October 2001.

#8026B Team Composing with Shirley Walker

• Part Two

#8027A Legal & Business Issues for Composers & Songwriters

• This program presents a practical guide to many of the legal and business issues which confront film and TV composers and lyricists every day, from moral rights and copyright concerns, to collection on performance and broadcast mechanical royalties, and examining some of the basic, long-standing, judicial decisions which govern such diverse issues as parody (Acuff-Rose Music, Inc. v. Campbell), joint works (Shapiro, Bernstein & Co. v. Jerry Vogel Music Co.), the ASCAP consent decree (Alden-Rochelle, Inc. v. ASCAP), and copyright infringement (Bright Tunes Music Corp. v. Harrisongs Music, Ltd.).
• Moderator & Presentator: -- JEFFREY L. GRAUBART, ESQ. is an entertainment lawyer, a former staff attorney at Capitol Records, Inc., a former Governor of the Los Angeles, New York, and San Francisco chapters of the Recording Academy, and a former Vice President and Trustee of the film music preservation group Film Music Society.
• Other Presentators/Panelists include: -- RAY COLCORD (a successful composer for film and television, a current governor of the Television Academy, and a Past President of the SCL).
• -- ASHLEYIRWIN (Emmy-winning composer from Australia, arranger, musical director and record producer based in Los Angeles and is currently president of 3 music publishing entities on 2 continents).
• --DAVID SCHWARTZ (Emmy & Grammy nominated composer has composed the music for many top television series including Northern Exposure, Deadwood, Arrested Development, The Ellen Show plus numerous film and telefilm credits, and is a SCL Board Member).
• --GARRY SCHYMAN (composer for film and television and games whose credits include eleven feature films, ten movies of the week, numerous episodes of television series, documentaries and games, is the past vice president of the SCL, is an expert in foreign royalties and is co-founder and president of the Music Copyright Society International – a music royalty collection society specializing in non-performing rights royalties for composers and publishers overseas. Garry has written numerous articles on and about performing rights and royalty issues).
• Recorded June 23rd, 2004, at the American Film Institute (AFI).

#8027B Legal & Business Issues for Composers & Songwriters

• Part Two.

#8028A Avoiding Common Technical Mistakes in Scoring

• For composers who need to work quickly and efficiently, avoiding technical mistakes can be invaluable. This lecture will teach you how to avoid many of the common technical mistakes that can be made between landing the gig and delivering the final mix. A wide variety of subjects will be covered, including: What about delivery requirements, stem mixes and backups? How do I know what audio equipment to buy? How do I evaluate equipment? Does the brain prefer the louder or the brighter sound? What simple conducting tip can save time during recording sessions? What does masteringmean?
• Discover how a few wise decisions early on can save one from the grief of a live session coming to a halt or losing valuable data.
• SCL Member JOHN RODD (lecturer), recording engineer/orchestral scoring mixer, lives in Los Angeles and has worked internationally as a recording engineer since 1989. He has worked with the best of the best in rock, pop, jazz and classical, with a particular emphasis on orchestral recording and music for film and television. John has been featured in several industry publications internationally, most recently in a feature interview in MIX Magazine.
• RONAN CHRIS MURPHY (moderator), record producer/mixer, works around the globe as a producer, mixer and guitarist. His eclectic discography spans hundreds of albums and he has gained a reputation for working with some of the most prestigious musicians in the world.
• Seminar presented on March 25th, 2007

#8028B Avoiding Common Technical Mistakes in Scoring

• Part 2

#8029A Where's My Royalty?

• As we careen forward into an age of online downloading and streaming of music, video and film content, the existing systems for collecting royalties for the creators of that content are in jeopardy. Is there a performance right in a download sale? Is there a mechanical right in a streaming performance? Answers to these questions will hugely affect our income in the future, and are being decided right now by people who don't understand what we do. This panel will bring some light to a murky process, and will help you understand what you can do to protect your rights as the creators of all this content the big media companies are so anxious to sell, and perhaps, not so anxious to pay you for.
• Presented by a distinguished panel including: DEAN KAY, JAY COOPER, TED COHEN, CHRISTOPHER AMENITA and JEFFREY GRAUBART. Moderated by RAY COLCORD.
• Recorded June 12, 2007

#8029B Where's My Royalty?

• Part 2.

#8030A SCL 2007 Annual Membership Meeting

• The SCL is pleased to present six of our highly celebrated SCL member composers as they explore composing in the current environment. Today's unique demands of creating music for film, television and games will be discussed by this talented panel that includes: Moderator: SCL Advisory Board Member PATRICK WILLIAMS
• Panelists: CHRISTOPHE BECK, GEORGE S. CLINTON, MICHAEL A. LEVINE, LOLITA RITMANIS, and STANLEY A. SMITH Recorded October 17, 2007

• Part 2.

#8031A Creating Music Without Creating Lawsuits

• When you are asked to create music to sound like existing music, just how close can you get without creating a legal headache? Borrowing, sampling, or stealing: Where do we draw the lines? We will be discussing these issues with copyright expert Lon Sobel, forensic musicologist Danny Gould, and writers Julie & Steve Bernstein, creators of many great parody songs used on Steven Spielberg's ANIMANIACS. Recorded 09/25/2007
• JULIE & STEVE BERNSTEIN are Emmy-winning, classically trained composers who have written music for hundreds of episodes of TV animation. Their work can be heard on such classics as ANIMANIACS, PINKY AND THE BRAIN, FREAKAZOID and BABY LOONEY TUNES.
• DANNY GOULD, since graduating from New York University with a music degree and moving to California, has been a participant in multifarious activities in the music industry: as a Music Advisor for Paramount Pictures, and presently (for almost 37 years) as a Musicologist and Special Advisor for the Warner Bros. Music Dept. Other activities: Composer (Songwriter), Arranger, Researcher, Conductor, Keyboardist, Accompanist, Musical Actor (Sideline Musician/on camera), and Grand Prize winner of the Waterford (Ireland) Song Festival.
• LON SOBEL is a Professor at Southwestern Law School, where he teaches International Copyright, International Entertainment Law, Trademark Law, and Federal Income Tax. He is also the Director of Southwestern's International Entertainment & Media Law Summer Program in London, and the Chair of the American Bar Association Forum Committee on the Entertainment & Sports Industries.
• DENNIS C. BROWN (Moderator), composer and current member of the SCL Board of Directors, has scored TV episodes along with scoring for film and the title music for a video game. His music can be found in such TV series as STILL STANDING, TWO AND A HALF MEN, DHARMA & GREG, ZORRO, SPEED RACER, GRACE UNDER FIRE, THE TOXIC CRUSADERS, JAMES BOND JR. and the TEENAGE MUTANT NINJA TURTLES: THE SERIES.
• GARRY SCHYMAN (Co-moderator), composer and current member of the SCL Board of Directors, has scored video games such as BIOSHOCK, DESTROY ALL HUMANS (1, 2, 3), along with numerous films, television movies-of-the-week, television series, and documentaries.

#8031B Creating Music Without Creating Lawsuits

• Part two.

#8031C Creating Music Without Creating Lawsuits

• Part three.

#8032A The Art of Networking: How to Market Yourself

• Featuring (in alphabetical order):
  • RAY COSTA, Publicist/President/Costa Communications
  • DAN KIMPEL, Author/Journalist/Educator and Networking Guru
  • HANNA PANTLE, AVP/Media Relations, BMI
  • TESS TAYLOR, President/National Association of Record Industry Professionals (NARIP)
• Moderated by LORI BARTH, Songwriter, Senior Editor of SCL's award-winning publication, THE SCORE, and SCL Board Member
• This informative seminar will deal with making and keeping professional relationships, letting people know who you are and how you can work together, gaining introductions, working the room,proper schmoozing etiquette, makingvaluable contacts and creating a valuable support network.
• Recorded: MONDAY, NOVEMBER 17, 2008

#8032B The Art of Networking: How to Market Yourself

• Part Two

#8033A The Game Music Business

• THE GAME MUSIC BUSINESS: RELATIONSHIPS BETWEEN COMPOSERS AND LARGE CORPORATIONS Featuring The Top Corporate Game Professionals Dealing With Music And Composers Presented Tuesday, January 13th, 2009
• The SCL presented a distinguished panel of experts discussing high-level corporate viewpoints on current trends, opportunities, deals, publisher/developer relationships, licensed music content, state of the industry, how composers are hired and approved, and other issues which face today's game composers.
• CHUCK DOUD oversees all music development for first-party software for the PlayStation® family of products, including the PLAYSTATION®3 (PS3™) computer entertainment system, PlayStation®2 computer entertainment system and PSP® (PlayStation®Portable) handheld entertainment system. Doud's SCEA Music Group is comprised of some of the best talent from the videogame and music industries, overseeing all areas of music development including creative, business, production and technical, in addition to new business opportunities relatedtothe music and gaming industries. Some of the recent products his group has worked on include GOD OF WAR II™, UNCHARTED: DRAKE'S FORTUNE™, WARHAWK™ and LAIR™. Doud has a background in music composition, production, performance and business.
• ADAM LEVENSON serves as Director, Talent and Audio Management Group at Activision where he oversees original music, sound effects, voiceovers, audio technology, celebrity talent, and scriptwriters across Activision portfolio of titles. In addition, he is spearheading the creation and implementation of shared audio standards and technologies across Activision's global studios. He joined Activision in 2006 as the Director of Central Audio. He has more than 15 years experience in video game audio production having contributed to games as a composer, sound designer, supervisor and audio director.
• VICTOR RODRIGUEZ is the Music Director of THQ, one of the world's largest video game publishers. A former management executive at several music publishers and labels including Sony/BMG, he has worked extensively with the industry's top artists to provide music for hundreds of games, films and television programs. He is also a published author and has spent time in many different countries, but always manages to find his way back to Los Angeles, where he currently lives. RUSSELL BROWER, moderator, has over 25 years of experience as a Composer, Musical Director and Post Production Supervisor. His background includes television, film, theme-parks, games, plus he is a three-time Emmy Award winner. Currently he is the Director of Audio/Video and Lead Composer of Blizzard Entertainment, a leading developer/publisher of video games, including WORLD OF WARCRAFT. He previously served as a Principal Media Designer and Musical Director at Walt Disney Imagineering. He currently serves on the SCL Board of Directors, and the Advisory Board of the Game Audio Network Guild (G.A.N.G.).

#8033B The Game Music Business

• Part Two.

#8034A Performing Rights II

• In this SCL seminar from November 2, 2006, the panel of DENNIS C. BROWN, STU PHILLIPS, GARRY SCHYMAN, and STEVE WINOGRADSKY discussed YouTube, ringtones, and many other forms of revenue, as well as the attacks on royalties that are becoming increasingly frequent. They gave a basic explanation of performing rights, including how royalties are collected and distributed, and whata person needs to do to ensure that they receive all royalties their music has generated, plus dissect the cue sheet and discuss proper filing procedures. Other topics include RapidCue, plus an analysis of a situation at the time of this seminar that concerned Ringtones and Mastertones with regards to an opinion handed down by the U.S. Copyright Office (Oct. 18, 2006) that was considered to have a possible adverse affect on one's earning capabilities. SESAC writer and SCL Board member DENNIS C. BROWN has been creating music for television animation and sitcoms for 20+ years, and has been heavily involved in royalty monitoring issues from the start. BMI writer and SCL Board member STU PHILLIPS has been writing for television and films for over 45 years, creating music for such TV series as the original BATTLESTAR GALACTICA, KNIGHT RIDER, QUINCY, THE MONKEES, THE FALL GUY, and many others. ASCAP writer and SCL Board member GARRY SCHYMAN is an experienced film, television and game composer with many credits. He has penned many articles on issues related to performing rights, and was the composer consultant to ASCAP for the International Music Joint Venture (IMJV). Attorney STEVEN WINOGRADSKY is the President of The Winogradsky Company in North Hollywood, California, providing music business affairs and legal support for composers, songwriters, music publishers, recording artists and television, film, video and multi-media producers.

#8034B Performing Rights II

     Part Two.

#8035A Composer & Songwriter Music Licensing Deals

• THE MANY WORLDS OF COMPOSER AND SONGWRITER MUSIC LICENSING DEALS For film, television and videogame composers and songwriters, the world of music royalties doesn't have to stop with the initial creative or package fee and the subsequent ASCAP, BMI and SESAC performance royalties. In many cases, if the composition is right and the parties know what they are doing, the stream of royalties and exposure have only just begun.

  In this extended seminar, Todd and Jeff Brabec, authors of the best selling book MUSIC MONEY AND SUCCESS: THE INSIDERS GUIDE TO MAKING MONEY IN THE MUSIC BUSINESS, discussed the multi-faceted world of new music uses, the structure of the deals, the main points of negotiation and the actual dollars that are paid for all the different uses.

  Areas covered include videogames, the new CD, download andstreaming rates, interactive dolls and toys, ringtones and ringbacks, advertising commercials, Broadway, greeting cards, mashups, performances, foreign theatricals, motion picture and television licenses, sampling, trailers and previews, home video, remixes, karaoke, foreign country royalties and more.

  The speakers are TODD BRABEC, music licensing and royalty consultant and former Executive Vice President of ASCAP and JEFF BRABEC, Vice President of Business Affairs for the Chrysalis Music Group are authors of the book MUSIC MONEY AND SUCCESS and are adjunct associate professors at USC where they teach the course on music publishing, music licensing and film, television and videogame score and song contracts.

  From Tuesday, July 21, 2009.

#8035B Composer & Songwriter Music Licensing Deals

     Part Two.

#8035C Composer & Songwriter Music Licensing Deals

     Part Three.

#8036A An Evening With Sean Callery

• Spend an informative evening with award-winning SCL composer SEAN CALLERY (24, Bones, Medium) as he takes you through his work process, his background and experience, followed by a Q & A.

  Topics covered include Spotting Notes and the Spotting Process: discussing different kinds of spotting notes for his various projects.

  Analyzing the scene and comparing the different options in how scenes may be scored.

  Technical talk: studio setup/gear sound design, stem prep and delivery.

  Sean Callery's music on the orchestral concert stage.

  After the presentation, a brief interview where he has the chance to discuss his background in live performance, sound design and Synclavier technology, and the balancing act of scoring two TV series at the same time. At the end, questions handed in from the audience are presented to Mr. Callery for his responses. Moderated by SCL Board Member, composer/arranger/musician BENOIT GREY.

  From Tuesday, August 4th, 2009.

#8036B An Evening With Sean Callery

     Part Two.

#8037A Video Games Scoring: Working with Audio Directors

• Four Top Video Game Audio/Music Directors discuss the technical details of working with composers. The panel is led by SCL Board member and video game composer Garry Schyman.

  Video game composers nearly always work directly with the audio director (or in the case of Sony - music director)whenthey score a game. Audio directors design and implement all of the sound in a game and are often responsible for the music direction and the day-to-day technical details of a composer's duties - guiding and approving the entire scoring process.

  This seminar is technical in nature, and focuses on the working relationship between the composer and audio director, detailing the entire music production process from getting hired to delivering a finished score.

  PARTICIPANTS:

  CLINT BAJAKIAN is Senior Music Manager at Sony Computer Entertainment America producing music for PlayStation games like GOD OF WAR, UNCHARTED, INFAMOUS and SOCOM: U.S. NAVY SEALS. With 18 years game industry experience, Bajakian has composed music at LucasArts Entertainment Company and his own audio production company for games such as MONKEY ISLAND, MANIAC MANSION, OUTLAWS, STAR WARS and INDIANA JONES.

  PAUL GORMAN is Audio Director for DANTE'S INFERNO at EA / Visceral Games. He has directed and produced audio content for several AAA franchises including LORD OF THE RINGS, JAMES BOND, THE SIMPSONS, STAR WARS and NEVERWINTER NIGHTS. He has been a recipient of several game industry awards including AIAS Sound Design of the Year.

  DAVE ROVIN is Audio Director for Pandemic Studios. He began his career in games in 2000 as sound lead and composer for FEAR EFFECT 2, 3, and composer for TRADE EMPIRE. At his current job as Audio Director at Pandemic Studios he has worked on titles such as FULL SPECTRUM WARRIOR 1, 2, DESTROY ALL HUMANS 1, 2, and MERCENARIES 1, 2.

  JP WALTON is Audio Director for Double Helix Games. He started in the industry nine years ago and his credits include the BALDUR¹S GATE, SILENT HILL, ICEWIND DALE, and CHAMPIONS OF NORRATH franchises as well as his current project FRONT MISSION EVOLVED for Square Enix. His awards include an MTV VMA, Gamespot Soundtrack of the Year, and an MPSE Golden Reel.

  GARRY SCHYMAN has composed music for film, television and video games. His score for the hit videogame BIOSHOCK was recognized by the Academy of Interactive Arts and Sciences for outstanding achievement in music composition. His recent work includes BIOSHOCK 2, DANTE¹S INFERNO and FRONT MISSION EVOLVED.

  From Tuesday, October 6th, 2009.

#8037B Video Games Scoring: Working with Audio Directors

     Part Two.

#8038A Stress and the Creative Process: A Seminar with Thomas E. Backer, PhD

• Psychologist Tom Backer has worked with creative people for more than 35 years, including programs for the Academy of Motion Picture Arts and Sciences, National Academy of Recording Arts and Sciences, and American Society of Music Arrangers and Composers.  This lively, highly-interactive evening focuses on the practical strategies composers and lyricists can use to handle the stresses of their work, both on the business and creative side.

  Questions covered include: What's happening to us physically when we experience stress in our work and lives?  How can exercise, diet and personal practices like meditation help?  How does our genetic heritage influencethe way we experience stress?  How does stress influence the creative process, including both creative blocks and creative inspiration?  The seminar also looks at successful approaches to time management and balancing work and personal life.

  Dr. Backer is joined by SCL Board members Vivek Maddala and Adryan Russ who talk about their own personal formulas for dealing with stress, followed by discussion with the audience.

  From Tuesday, November 3rd, 2009.

#8038B Stress and the Creative Process: A Seminar with Thomas E. Backer, PhD

     Part Two.

#8039A Using LOGIC with Fletcher Beasley

• SCL Member FLETCHER BEASLEYis a Los Angeles based composer with a wide range of experience creating music for different media.  He has composed and arranged music for film, television, records, commercials, video games and interactive exhibits. In addition to writing music for his own projects, Fletcher has worked with a number of film and television composers contributing writing, arranging, programming and mixing, as well as technical assistance with their studio setups.

  Fletcher has used LOGIC as his sequencer of choice for the past thirteen years. He has consulted with many composers and musicians on how to use the program most effectively to suit their creative needs and has taught courses in music technology at UCLA Extension's Film Scoring Program, UC San Diego, Chapman University and Santa Monica College.

  TOPICS COVERED INCLUDE:
  - Running LOGIC efficiently on your computer
  - Overview of LOGIC functions and capabilities
  - New features of LOGIC 9
  - Using plugins
  - Bussing and Aux Channels
  - Automation
  - Working to picture
  - Using LOGIC in conjunction with other programs

  From Tuesday, November 17th, 2009.

  For further information or to contact Fletcher Beasley, please visit www.fletcherbeasley.com.

#8039B Using LOGIC with Fletcher Beasley

     Part Two.

#8040A Using SIBELIUS with Richard Bronskill

• RICHARD BRONSKILL has been an orchestrator and composer in Hollywood for more than 20 years, and has worked with composers such as Michael Giacchino, Christophe Beck, Christopher Young, Rolfe Kent, Mark Mothersbaugh, Chris Lennertz, Billy Goldenberg (he was quite young) and Alex North (he was very young!). After thousands of pages of handwritten scores and years of painful tendonitis in his right arm, he began working with MOTU's Mosaic, then advanced to Sibelius which he has been using quite comfortably for the last 5 years.

  This seminar is about how he uses Sibelius 6; settings and procedures that he's developed over the course of several years and many projects that optimize speed and workflow.  All users, regardless of program version or level of experience, should find it enlightening.

  TOPICS COVERED INCLUDE:
  • Fundamentals:
      - System & Sibelius preference settings
      - Application contents adjustment
      - Application Support structure
      - Creating user-defined shortcuts
      - What to back-up
      - Optimum Engraving Rules and All Fonts settings
  • Creating and Managing Your Score Environment:  
      - Create a template that will be the basis of all future projects
      - Usage and creation of custom Text Styles
      - Shortcuts and Word Menus
      - Wildcards, HTML code and the Score Info Window
      - Custom and hidden Instruments
      - Pros and cons of prepping parts within the score file
  • My Orchestration Procedure:
      - MIDI file import choices
      - Panorama view
      - Use of 3rd party plugins
      - Dummy staves
      - Note filters

  From Tuesday, February 2nd, 2010.

  For further information, please visit: www.myspace.com/richardbronskill

#8040B Using SIBELIUS with Richard Bronskill

     Part Two.

#8041A The Art and Craft of Making Music for Trailers

• Featuring:

  JOHN BLAS currently heads NCS Creative, Inc. a Creative Advertising agency, consulting with Sony Pictures and Lucasfilm Ltd. among others. From 2004-2007 Mr. Blas was Senior Vice President of Worldwide Creative Advertising for both Disney and Pixar animation studios where he oversaw creative for both print and audio-visual advertising of all animated features. At that time he worked on Disney and Pixar trailer titles such as LILO & STITCH, MONSTERS INC., FINDING NEMO, THE INCREDIBLES, CARS, RATATOUILLE, MEET THE ROBINSONS, and many more.

  CRAIG STUART GARFINKLE , SCL Board Member, is an established composer of music for trailers, as well as film, TV and video games. His trailer credits include J.J. ABRAMS' STAR TREK, SIN CITY, HARRY POTTER AND THE GOBLET OF FIRE, VICKI CRISITNA BARCELONA, SPIDER-MAN 3, CALL OF DUTY II, and HALO II.

  GARO SETIAN is an award-winning trailer editor who has cut over 100 trailers and television spots for motion pictures. His clients include Lionsgate and Artisan, as well as many independent labels. He has been nominated for 11 Golden Trailer Awards, and in 2008 won three for his trailers for THE EYE 3 (best foreign horror), DRIVE-THRU (Trashiest trailer) and the Marvel animated feature DOCTOR STRANGE (best anime).

  RON MENDELSOHN, pianist and composer, is co-founder and CEO of Megatrax, a leading production music library and custom music house based in Los Angeles. Megatrax music has been recently featured in trailers for the feature films UP, ALICE IN WONDERLAND , VALENTINE'S DAY, LETTERS TO JULIET, THE PRINCESS AND THE FROG, and many others.

  BENOIT GREY, Moderator and SCL Board Member, is a composer/orchestrator based in Hollywood, where he has worked on many major studio films. Prior to that, Benoit used to tour and perform as the bassist for the legendary Genius of Soul Ray Charles. Benoit has worked as an in-house composer at a prominent trailer company in Los Angeles where he composed music and sound design for the trailers for the studio features FRACTURE, MEET THE ROBINSONS, RATATOUILLE, THE GOOD GERMAN, THE COVENANT, and the TV series DAMAGES and THE RICHES.

  This seminar took place at the American Film Institute on Tuesday, April 6th, 2010.

#8041B The Art and Craft of Making Music for Trailers

     Part Two.

#8043A Writing for the Harp: For Composers Arrangers, Orchestrators, Producers & Copyists

• STEPHANIE BENNETT, in addition to being a harpist, wears all of the above hats when working on her own compositions, arrangements, recordings and publications. She has toured with the Ray Conniff Singers and with Bobby Womack and Sly Stone; has played on numerous soundtracks, and has recorded with artists including Sir Paul McCartney, the Dixie Chicks, Josh Groban, Meatloaf, and Spongebob Squarepants, and with producers including Nigel Godrich, Desmond Child and Beck.

  • This workshop touches on:
      - Different kinds of harp: pedal, nylon-strung Celtic, wire-strung Celtic, and electric.
      - Basic techniques and effects, a few special effects/extended techniques.
      - Detailed discussion of Notation.
      - What's possible live vs. in the studio.
      - Caveats and studio-magic tips for recording harp.
      - The mysterious pedals: de-mystified. What's possible, what's impossible?
      - Writing for 2 harps.

  This seminar took place at the American Film Institute on Thursday, May 13th, 2010.

#8043B Writing for the Harp: For Composers Arrangers, Orchestrators, Producers & Copyists

     Part Two.

#8044A Kontakt for Composers and Sound Designers with David Das

• DAVID DAS is an L.A.-based composer, producer, and sound designer. Originally from New Jersey, he graduated from the University of North Texas with a degree in piano, then moved to Nashville where he toured extensively as a keyboard player and musical director with a variety of artists, pioneering in the use of laptops on stage. Now based in Los Angeles, he is a composer for film, TV, and commercials, and continues various production projects, song writing, and sound design for Vir2 Instruments and Big Fish Audio. He has been a Kontakt user since Kontakt's launch, and is the author of Kontakt 2 Power (2006, Thomson).

  This Kontakt seminar is designed for users of the program at all skill levels and aims to cover the following topics:

  • Part 1 - The Simple Stuff
      - Quick overview of the interface
      - Where everything is
      - How you load instruments
      - Designing multis
      - Routing audio out to a sequencer or to an audio interface
  • Part 2 - Nitty Gritty Detail Stuff
      - How to edit an instrument
      - How to build an instrument from scratch and tweak its behavior
      - How to use modulators to alter pitch, volume, and effects
      - DFD (streaming)
      - Time Machine, Tone Machine, and Beat Machine examples
  • Part 3 - Kontakt for Expert Users
      - Building an orchestral template
      - Setting up Kontakt-powered softsynth slave computers
      - Converting/Importing Gigasounds and the pros/cons of saving them as .nki files
      - Other shortcuts and tips and tricks to increase productivity

  From Thursday, June 17th, 2010. 

#8044B Kontakt for Composers and Sound Designers with David Das

     Part Two.

#8045A The Unusual Suspects

• Aside from the director, there are people who can be very influential in the hiring (and firing) of a composer. Drawing upon their extensive experience in the industry, the panel discusses how to make the most of these relationships and how, if used properly, they can even give you an inside track.

  Moderated by EMMY-winning SCL Board member and Seminar Chair, ASHLEY IRWIN, the panel comprises:

  BERNIE LARAMIE (Producer) has been a Producer in Los Angeles for more than 25 years. He is best known for his work on CSI: CRIME SCENE INVESTIGATION as well as such series as SHARK, THREAT MATRIX, PROFILER, DARK SKIES, DARK JUSTICE and MAX HEADROOM. Bernie also handled producing chores on the IMAX 3D production of James Cameron’s ALIENS OF THE DEEP and THE LAST MYSTERIES OF THE TITANIC a 17 camera livebroadcast from the sunken vessel. Bernie enjoys cutting edge technology. While the Director of Post Production at Lorimar, he pioneered many state of the art post production techniques used today including the use of electronic non linear systems, CGI effects, and 3 perf 35mm for production. Recently he created a 360 degree live action camera system for a live action simulator for the U.S. Army. Bernie taught Post Production for Film and Television at UCLA Extension for more than 15 years, and has been a guest lecturer at USC, Cal Arts, and Art Center. He has recently collaborated on a textbook for Allyn & Bacon, “Creative Post Production” and is a member of The Producer’s Guild, The Director’s Guild, Editor’s Guild, and The Society of Motion Picture and Television Engineers (SMPTE).

  CHRIS MCGEARY (Music Editor), a 20 year veteran with over 120 film and television credits, is President and owner of Final Note Productions Inc., a post production music service company. He has earned 12 Emmy nominations with 3 Emmy wins. As supervising music editor he has worked with the top directors in Hollywood on such films as HEREAFTER, ROCKY BALBOA, HELLBOY, EXIT WOUNDS, HOW STELLA GOT HER GROOVE BACK, THE THOMAS CROWN AFFAIR, GRAN TORINO and MIMIC while his composer clients have included Clint Eastwood, Bill Conti, Mark Snow, Basil Poledouris, Elmer Bernstein, Mark Mothersbaugh, Marco Beltrami and Cliff Martinez. His current TV series include THE MENTALIST, SMALLVILLE, ONE TREE HILL and SUPERNATURAL.

  DAVID SIBLEY (Music Supervisor) is a native of Arkansas and holds a degree in music composition from Southern Methodist University in Dallas, Texas, which he attended on a tuba scholarship. David came to Los Angeles as a Television Academy Music Intern, studying with Allyn Ferguson, Joe Harnell, Bruce Broughton, Henry Mancini and other notable TV and Film composers. Immediately following the internship he was hired to work as an independent music supervisor for Orion Pictures. David never left his composing skills far behind and continues to arrange and produce music for current projects. He also became a staunch supporter for the preservation of film music history with his involvement with Fred Karlin's oral histories project documenting many of Hollywood’s great musical figures. He is committed to the future of film music too, as a session producer of ASCAP’s film and television music workshop for young composers. During the 90's David joined the music staff at Lorimar and subsequently, Warner Bros., where he worked with such industry veterans as Gary Lemel, Doug Frank and Greg Sill. David was hired to create and head a world class music department New World Entertainment including its Marvel Animation division under the legendary Stan Lee. Following New World's acquisition by 20th Century Fox, David once again returned to freelance music supervision with the syndicated Quincy Jones produced VIBE. He received an Emmy nomination for his work on THE LITTLE RICHARD STORY and is currently supervising the music for the ABC-TV series, DESPERATE HOUSEWIVES, and the CW's HELLCATS.

  The seminar took place on Thursday, February 24, 2011

#8045B The Unusual Suspects

     Part Two.

#8045C The Unusual Suspects

     Part Three.

#8046A The Future Of Performing Rights From A Composers POV

• The future is here NOW and increasingly performances of our music emanate from the internet. How will this affect our performing rights? We will discuss potential threats to our performing rights income that are occurring right now and how we can deal with them.

  In addition our panel will address the issues and factors that affect proper receipt of the money your music earns. Our panel will take an in depth look at the anatomy of cue sheets, the need for copyright, and the changing structure of revenue streams. From the filing of cue sheets through the monitoring of your statements, we'll arm you with the information you need to protect your earnings.

  The Panel:

  STEVE WINOGRADSKY - With thirty years experience as an attorney in the music industry, Steven Winogradsky is a partner in Winogradsky/Sobel in Studio City, California, providing global media and music business affairs & legal support for composers, songwriters, music publishers, recording artists and television, film, video and multi-media producers. In addition to an entertainment law practice, the company handles music clearance and licensing in all media for many production companies, worldwide administration of the publishing catalogs for a number of clients and New Media strategies and Revenue Modeling.

  KEITH ZAJIC - A skilled negotiator and dealmaker, Keith served at Warner Brothers as Executive Vice President, Music Business Affairs, from 1989 through 2009. Prior to his position at Warner Brothers, Keith served as Senior Vice President of Business Affairs for Columbia Pictures Music Group, after serving as an associate attorney with Barovick, Konecky, Schwartz, Kay & Braun and Loeb & Loeb. Keith has been involved with the blockbuster soundtracks "The Big Chill," "Ghostbusters," "City Of Angels," "Space Jam," and "The Bodyguard" as well as negotiating and supervising in various areas of music legal affairs.

  CHRIS WOODS - Chris is Executive Vice President of TuneSat, a proprietary audio fingerprint technology company which detects music being played just about anywhere, even in the noisiest of environments - under dialogue, sound effects, or voiceovers - in full duration, providing unrivaled accuracy in reporting information to clients. He has an extensive background in the music business and sound processing technologies, and has been instrumental in building TuneSat’s technological portfolio, including the surveying, acquisition and development of audio fingerprinting technologies. His knowledge of practical music royalty collection issues positions him as a leader in the development of TuneSat.

  WILLIAM GOLDSTEIN - 50 movie and film credits, recording artist for Motown and CBS Masterworks, with over 30 albums currently on line, most on his own label. An innovator in technology, recording the first score on a computer for film or TV in 1985. Has written on the arts for the LA Times and The NY Times, and a unique improviser at the keyboard.

  Moderated by:

  DENNIS C. BROWN - Longtime Performing Rights Committee co-chair, Dennis has been writing for television for twenty years, and has had a keen interest in the proper filing of cues sheets and the importance of statement monitoring from the start of his career.

  GARRY SCHYMAN - Garry Schyman is a composer for film, television and video games. His recent scores for Bioshock and Dante's Inferno have garnered him numerous awards and nominations. He is a long time SCL board member, former Vice President, and his work on the performing rights committee and in music publishing ventures has educated him to the world of performing and mechanical rights for composers.

  The seminar took place on Thursday, March 24, 2011

  #8046B The Future Of Performing Rights From A Composers POV

       Part Two.

  #8046C The Future Of Performing Rights From A Composers POV

       Part Three.

#8047A Digital Orchestration: Creating Realistic Mock-ups

• Recreating the sound of a symphony orchestra using only a sequencer and orchestral sample libraries presents a great challenge to the contemporary composer and digital musician. The latest sample libraries sound better than ever, but they still require considerable manipulation to convince a listener that s/he is hearing the real thing. As budgets for film and television decline, it becomes imperative for the contemporary composer to be able to create sophisticated and realistic sounding mockups of his or her symphonic music. The purpose of this seminar is to give composers insight into how the pros create realistic orchestral mockups using their sequencers.

  Presented by SCL Member Fletcher Beasley, a Los Angeles based composer with a wide range of experience creating music for different media. He has composed and arranged music for film, television, records, commercials, video games and interactive exhibits. In addition to writing music for his own projects, Fletcher has worked with a number of film and television composers contributing writing, arranging, programming and mixing, as well as technical assistance with their studio setups. www.fletcherbeasley.com

  The seminar took place on Wednesday, May 25, 2011

  For further information or to contact Fletcher Beasley, please visit www.fletcherbeasley.com.

#8047B Digital Orchestration: Creating Realistic Mock-ups

     Part Two.

#8048A Creating Music for Dramatic Television - Part One

• This two hour seminar features several leading composers describing their techniques of writing for dramatic television.

  Topics include:

      • The creative process of writing for dramas versus writing for comedic or reality TV.
      • The difference between writing for TV versus film.
      • The difference between writing for TV versus videogames.
      • Collaborating with TV producers versus a film director.
      • How to get into TV composing.
      • The musical anatomy of a specific TV scene will be explained by each composer.
  

   

  The Panelists:

      • MARC FANTINI (Criminal Minds, Army Wives)
      • CHRISTOPHER LENNERTZ (Supernatural, Horrible Bosses)
      • DANIEL LICHT (Dexter, Body of Proof)
      • MATEO MESSINA (Fairly Legal, Perfect Couples, Juno)
      • SCL President DAN FOLIART (The Secret Life of the American Teenager, 7th Heaven)
  

   

  The seminar took place on Wednesday, June 22, 2011

#8048B Creating Music for Dramatic Television - Part Two

     Part Two.

#8049A An Evening With Michael Giacchino & His Team - Part One

• Multi-award-winning composer MICHAEL GIACCHINO ("Star Trek," "Up," "The Incredibles," "Alias" etc.) has assembled a team of top-tier music professionals that have for several years been working together to help Michael deliver his world-class scores. Join us for an evening as Michael takes you through the process of how he selected and assembled his crew, and demonstrates the music creation workflow process with his team using examples from his most recent hit feature film "Super 8". This presentation will be followed by a Q&A.

  Joining MICHAEL GIACCHINO for this SCL seminar will be the following members of his music team:

      • DAN WALLIN (Scoring Engineer/Mixer)
      • TIM SIMONEC (Orchestrator/Conductor)
      • ANDREA DATZMAN (Score Prep)
      • REGGIE WILSON (Contractor/Music Executive)
      • BOOKER WHITE (Copyist)
      • ALEX LEVY (Music Editor)
  

   

  Moderated by SCL Board/Seminar Committee Member composer/orchestrator BENOIT GREY.

  The seminar took place on Thursday, July 21st, 2011

#8049B An Evening With Michael Giacchino & His Team - Part Two

     Part Two.

#8050A FUTURE MUSIC: Emerging Roles, Technologies, and Concepts in Interactive Media Scoring - Part One

• Talent agent Adam Levenson moderates a panel of renowned composers and music technology innovators at the cutting-edge of emerging trends in music for interactive media and beyond. The panel will demonstrate and discuss key aspects of the creative, technological, and business implications of developing concepts such as real-time composition, algorithmic composition, artificial intelligence driven scoring, on-demand cloud-based integration, and more.

  Join us for an evening of lively discussion and demonstrations as we glimpse into our crystal ball toward the future of the art of scoring. A Q&A will follow the main presentation.

  Panel members include:

   • ROBERT HAMILTON - Stanford CCRMA, Electro-acoustic music composer and interactive music systems specialist
   • LAURA KARPMAN - Four-time Emmy winning film, TV, and game composer
   • DANIEL LERICH - VenLabs, Interactive audio specialist, game designer, Max/MSP expert
   • STEVE NALEPA - Music producer, composer, professor, DJ, and Ableton Live expert
   • GARRY SCHYMAN - Multi award-winning BioShock series composer and SCL board member
   • PATRICIO da SILVA - Award-winning composer and algorithmic music designer
  

   

  The seminar took place on Thursday, August 4th, 2011

#8050B FUTURE MUSIC: Emerging Roles, Technologies, and Concepts in Interactive Media Scoring - Part Two

     Part Two.

#8051A MUSIC TECHNOLOGY FOR THE WORKING COMPOSER with Blake Neely - Part One

• Featuring composer BLAKE NEELY (Pan Am, The Mentalist, Everwood, Life As We Know It), DAVID KNAUER and JASON ATKINSON from Audioperception (www.audioperception.com), moderated by composer JOEL DOUEK.

  The Intense pressures of creating music on a deadline means depending on systems that work perfectly, sound great, and are highly cost effective. Most composers find they must become adept at building, running and troubleshooting complex setups consisting of a multitude of interlinked technologies.

  This seminar will bring top composer Blake Neely together with music technology experts to offer you the best of practical guidance in speeding up your workflow, maximizing your music and making informed choices for your perfect setup. The event will feature a live scoring demonstration by Neely, revealing details of his workstation, creative approaches, and the many tips and tricks refined throughout his diverse and highly successful career.

  Topics covered include:

   • Staying current on music technology.
   • Learning game-changing workflow tips these experts use.
   • Exploring the latest sample libraries and software that can enhance your sound.
   • Looking under-the-hood at sessions from top TV shows, revealing creative approaches and templates.
   • Finding out about future developments in music technology
  

   

  The seminar took place on THURSDAY, AUGUST 4th, 2011

#8051A MUSIC TECHNOLOGY FOR THE WORKING COMPOSER with Blake Neely - Part Two

     Part Two.