Meet a composer who you may not know too much about in the name of Denny Schneidemessser. TMV recently did a Q&A with him, and I encourage you to read it here!
What drew you to begin composing film music?
In 2005 I started getting interested in film scores and found myself listening to them all day. I loved the emotion and energy in orchestral music and slowly became addicted to it. It were mainly the works by Alan Menken, Silvestri and Zimmer that fascinated me the most back then.
One year later I became interested in composing music myself, when I discovered an old, pre-installed version of Logic on my computer. I spent some days in the MIDI editor, messing around with various instruments. It was fascinating for me and I somehow managed to write music that worked, while I had no musical education at all and barely knew what I was doing. After a few weeks I was starting to look around for some better software and a cheap orchestral library. It was very expensive for me in my financial situation back then, but I decided to take the risk and see if I’d be able to handle an orchestra.
Where did you receive most of your inspiration for music tracks?
A lot of my inspiration is drawn from visual media such as artworks and films. Inspiration for music in general can be perceived by a lot of things, whether it’s a dramatic film, a thrilling story or the beauty of nature. All of these have worked for me so far. If I’d have to put my finger on musical inspiration I’d list the works of Alan Menken, John Powell and Alan Silvestri as my most prominent influences.
What software do you use to produce your music?
Mostly Samplitude and libraries by Eastwest/Quantum Leap. The EWQL libraries are perfectly able to deliver the larger than life Hollywood sound I was always looking for, Samplitude is great with its object oriented working method and the great implementation of a MIDI editor with build in notation view.
Do you have any comments for your fans?
Not so much for the listeners unfortunately, but for the ones that are considering to become a composer themselves, I’d recommend to start with the cheapest equipment possible and slowly move to more professional sounding instruments from there. Chances are good that you’ll become pretty inventive with your orchestration, as you sometimes have to go peculiar ways in order to make something sound good.
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