In The Studio With Brian Tyler

a really important lesson that I learned over time is to be able to let it go the best work is only your best work if it works with the film I'm Brian Tyler musician and writer I've written a lot of film scores like Avengers age of Ultron in the Fast & Furious movies Power Rangers and I've also worked with different artists producing like Wiz Khalifa and ty dolla sign and kill the noise and rae sremmurd also my films scoring music in my film compositions I like taking that on the road and conducting orchestras and performing my film music live as well a film is leading the way and that's what's influencing what I'm gonna write how I'm gonna write all those things I think the best way in the most efficient way to write music for a film is to come up with the central themes first and for me that usually means sitting down at the piano [Music] my technical process and create a process of writing music has been influenced by me knowing about film when I'm writing music I can see connections between how I write like a certain kind of augmented chord or a certain tempo shift or a tempo ramp with certain things that are done with the camera when you push in this seriousness of the scene it's usually means something's happening and the music kind of goes down and it becomes more grave there's all these weird things that you kind of start connecting but the reason why you're connecting it is because it's a part of the process of film so we're here at my studio cockpit area it's really where I'm situated when I'm mixing or mocking up I write in Pro Tools and recorder Pro Tools actually sequence and Pro Tools as well I'm really more of a tracker I'll go in and I play things in manually I like to commit just creatively to writing a certain way it's more difficult to change later but it's just like how I do it [Music] those kind of sounds I'll just record them and come up with ideas and it becomes like a more eclectic vibe and that's why you see so many percussion instruments no.1 percussion instrument sounds the same when I was doing some stuff for xxx these timbale patterns became a big part of the score it actually influenced the way I used my samples they had to kind of go with this sound if these didn't happen to be sitting here to score would actually sound totally different this will make you write in n7 just if you're messing about going jumping back and forth you're gonna think rhythmically differently everything from my studio is piped in through preamps all the way into a machine room then I have over here ve Pro and it houses a bazillion sample libraries how it is interfaces in my Pro Tools session I have a single MIDI track for every sound that's loaded in PE Pro at any one time I can use a ipad interface here to scroll through find a sound just by searching or you know like a technique harmonics on the harp for instance and you can type that in boom and it will automatically take you there because we found is there's so many sounds that you can't like just search through and go we're you know it'll just take a million years to have this control surface which I could control just my basics it's more for mixing in a live meeting setting when I need a balanced dialogue effects and the music and I can do that just really easily here having a pre-mixed is just not an option directors are going to be sitting in the room producers and sometimes like hey um I don't really want to hear the dialogue as much can you bring that down pump the music up I want to hear that or the other way around or whatever and so I can do that on the fly scouring film is a very unique mode of writing music the film you're working with a number of bandmates that have a hierarchy influence over you this is the strange thing it's like I'm the lead songwriter but the director is the star who's the singer the band or something like that and what's cool is that I happen to have been hooked up with a lot of different directors over the years who I'm become very good friends with they're all like completely different kinds of music it's almost like you're in ten different bands at the same time so I think an important part of what I do is to really actually know the different genres how do you produce that stuff how do you get in how you write it what's the vibe electronic music symphonic music Baroque jazz you don't want to ever be kind of caught in the lane where you feel like you're just faking it you really need to imbue yourself with with all those things fast and furious theme doesn't intend that that's like such a rhythmic thing and that came from me sitting down and kind of doing like a Calypso thing on the drums that's not usually how I do things so sometimes I'll just like coming in here and something will give me an idea now you see me with it lik that started off the score because if I play that on the piano it wouldn't have that tinge of kind of the old-school mystery I like to keep everything miked up I have a single button that I hit here it's like a quick key and it brings up my whole mix template for drums if I'm in a groove creatively you don't want to like slow down and stop for your technical process I just find the more I have around the more possibilities how to present themselves house have a career is matsan extra here's my basic matt sonic rigged for live shows I use pioneer the CDJ 2000 and an excess twos and then this board which is new they just came out with this one the djm 900 and XS 2 as well so awesome great faders so pretty much anything you need is at your fingertips [Music] sometimes I'll have like score music over here going vocal shouts and a drum loop over here and then a song here and I remember I was working on the last Fast and Furious movie I would play drums in that room track it into Pro Tools and then I would bring it in here and then kind of mix it and remix it and you come up with ideas even for scoring through these especially on certain kinds of music you can really tweak stuff things you only can do live when you're doing it instead of sitting there with a mouse and a click and a pointer and spacebar and it's very different when you can kind of tact Lee do it under your fingertips it's really important to try to represent your final vision as well as you can you don't want to find yourself falling into the trap of having something really great being rejected out of hand that they might have loved in the end using mock-ups that are really concentrating on how can I make things sound as realistic as possible the process on this piece is for the mummy the main title of the movie but the thing is that didn't start as the main title I wrote this piece as a general thematic piece for the film to get myself and the director grounded in some somatic material once I mocked it up it became kind of a part of the movie more than I even knew and they ended up cutting a sequence for the main title around my mock-up it was great because then by the time we got to Abbey Road to conduct it like a concert people knew the piece and we recorded a full orchestra at Abbey Road and also did a full choir at Abbey Road my favorite thing is when they just all play together and that's the take we use and that's what we have here this is one of those cases where nothing changed the original intent everything along the way was the way that you hope when you're writing something I did this from day one even when I lived in a tiny apartment with a couple microphones I would try to imbue it with some humanity I would mic up a snare drum how it throw in my voice way in the background I would I would do something live something that had dirt to it that that had the imperfections that samples usually polish off when I'm actually doing a mock up and recording all the other elements that may go along with the orchestra I am mixing it as we go and I want it perfect even in the mock-up so then when I go and we do the final mix it's pretty much balancing the live orchestra with all the other elements that I've already done but those are mixed social media has opened this up to a more immediate sense you get things ahead of time when I'm doing a session and I'm conducting we film it and we just kind of throw things up online and be like hey this is a process this is what it's like because for me that's what I wanted to see when I was a kid I would have killed to have seen the sessions from all these movies that I loved in the scores that I loved you ready for some singing all right okay main title here we go [Music] you're a filmmaker if you're a film composer no matter how good of a writer you are you're not going to be able to communicate with a director who is your collaborator if you don't know film because a director is gonna speak film they're not gonna speak music know how scenes are blocked know how editing is done know how lenses work no lighting all of those things are gonna help you it's a process of always educating yourself this building this studio is on my property where I live so I can just commute by walking first thing I did when I watched hands like whoa this would be amazing for strings and point you know I can put in Excel ours and cables and whatnot down here and a monitor and do anything it could put some strings in here drum kit is really loud and obnoxious in the Steinway I'm here too I never really finish a music project it just kind of ends at some point in the process of making it I think if I had like 30 years to work on the album I probably would do it for 30 years to just change so at any given point be like here's this version of it and that goes out to the world it's a snapshot of what the idea was at the time of which we ran out of time [Applause]

Channel: Output

Views: 271,564

Keywords: Madsonik, DJ, composer, Brian Tyler, Avengers, Furious 7, movie soundtrack, marvel music, music composition, instrumentalist, electronic music production, Kill The Noise, Wiz Khalifa, Rae Stremmund, ProTools, music studio, studio porn, film score, Output, Fast and Furious, Power Rangers, Rae Sremmurd, Piano, Theme, In the Studio, World Music, Mixing, orchestra, handrum, vibraphone, Pioneer, conducting, live mixing, electronic, film composer

Id: dogHOIdjefc

Length: 12min 5sec (725 seconds)

Published: Fri Oct 20 2017