Uploaded July 2018 | Updated September 2026, 1 hour ago
An alternate final musical cue to my score done for of Michael Atallah's film #Fakeation,.
Sometimes a musical idea stands well on its own, but does not fit within the context of the rest of a score. Such was the case with this cue, which played during the final scene and took the viewer to the final credits of the film. I still really like it, but feel the decision to replace it with an all-electornic score to be prudent.
This cue begins with a soundmass created by frozen sample of the tonic chord of the piano part, which begins about 20 or so seconds in. The sample consists of artifacts from the reverb tail of the tonic which is looped and then heavily processed by my analog-digital modular synthesizer. At about 20 second, the piano part begins. The final chord fades to black and the credits come up as the sampled piano soundmass fades out.
Fopr an overview of the modular synth used for this, go here;
youtube.com/watch?v=avjzYJ5sz2o&frags=pl%2Cwn
An alternate final musical cue to my score done for of Michael Atallah's film #Fakeation,.
Sometimes a musical idea stands well on its own, but does not fit within the context of the rest of a score. Such was the case with this cue, which played during the final scene and took the viewer to the final credits of the film. I still really like it, but feel the decision to replace it with an all-electornic score to be prudent.
This cue begins with a soundmass created by frozen sample of the tonic chord of the piano part, which begins about 20 or so seconds in. The sample consists of artifacts from the reverb tail of the tonic which is looped and then heavily processed by my analog-digital modular synthesizer. At about 20 second, the piano part begins. The final chord fades to black and the credits come up as the sampled piano soundmass fades out.
Fopr an overview of the modular synth used for this, go here;
youtube.com/watch?v=avjzYJ5sz2o&frags=pl%2Cwn
