Machine Head Composers Break Ground with Involvement in "Raise Your Voice"
Machine Head Composers Break Ground with Involvement in "Raise Your Voice"
Composers take on the role of creative consultants and integrate M-Audio gear into the New Line film
Composers take on the role of creative consultants and integrate M-Audio gear into the New Line film
Sound designer Stephen Dewey has always associated M-Audio with recording on the go. From his first Midiman interface to the M-Audio FireWire 410 he currently uses, the founder of Machine Head has taken advantage of the Company’s affordable, portable solutions for years. So when his California-based film music and sound design repertory company began working on the score for “Raise Your Voice,” a film about a group of music school students who made music everywhere they go, M-Audio seemed a natural choice for the film. And with that decision, what started out as a traditional composing job soon evolved into a groundbreaking collaboration with the filmmakers.
Genesis
Born in Australia and raised in the UK, Dewey started experimenting with home recording while still in grammar school. As a teenager, he recorded and edited special effects for his high school drama productions. After graduation, Dewey seized the opportunity to work in a studio, and was soon promoted to the position of engineer. However, he is the first to admit that capturing the perfect drum sound was not his forte. Instead, using technology to sculpt sound textures and effects captivated him—and propelled his career forward in a unique direction.
“I was just fascinated by the textures,” says Dewey. “I've always been drawn to more abstract music. [While working at Fairlight,] I began to have some really good fun using this sampler to create soundscapes and sound effects sequences. I was in an encounter with Hans Zimmer and I made mention of my doing this activity. And next thing I know I was working on “Black Rain” with Ridley Scott. I got sucked up into this world and never left.”
After a number of years of working for other people, Dewey took the plunge and started to make his own artistic vision a tangible reality. His philosophies extended far beyond the realm of sound design to encompass the development and management of a new kind of company. And thus Dewey built Machine Head, a collective of individuals that offers a complete soundtrack production solution. Over the years, Machine Head has maintained an active profile in film, commercials and recording production, working with David LaChappel, Paul Oakenfold, Ridley Scott, Depeche Mode, Junkie XL, and many more. The Company has also gained a reputation for using cutting-edge technology to achieve their diverse sounds.
“People consider me technically knowledgeable; I am always the guy with the gadget,” Dewey explains. “But having said that, I don't really pursue technology unless I think it's going to do something for me. I survey the technological landscape, choose whatever I think that would be really good for doing a particular project, and go and get it. And I will often be the first.”
M-Audio on the Job
Stephen Dewey came across M-Audio gear in magazines and at tradeshows, and decided to bring it into his studio one piece at a time. A Midiman interface accompanied the purchase of his first PowerBook. From there, he moved on to the Oxygen8, and then the M-Audio Ozone.
“I can't tell you that M-Audio products have really changed my habits. But they've made my habits easier to have—just the sheer portability and functionality of the Oxygen8, M-Audio Ozone and FireWire 410 are immensely helpful. I was recently on a holiday in the south of France for a month, and because I had the M-Audio Ozone and my PowerBook there, I was able to do my work.”
Even when working on local projects, Dewey relies on M-Audio gear. His recent projects have included a series of PlayStation commercials, a Public Service Announcement for Parents For Drug Free America and a wholly unique advertisement for Porsche. In order to sonically express the spirit of the vehicle, Dewey’s team went out and recorded a Porsche using a variety of equipment, including M-Audio’s FireWire 410. The team is currently in the process of crafting the car’s engine noises into a tune.
Lights, Camera, Action
Approximately one year ago, the script for “Raise Your Voice” landed on Stephen Dewey’s desk. The film follows a young woman from a small town as she journeys to Los Angeles to attend a performing arts summer program. As Dewey read the script, several scenes evoked memories of when he had employed M-Audio gear in a variety of mobile recording scenarios.
“There is one character who is the techno geek,” says Dewey. “He's out there recording things in the field and turning them into music instantaneously on his laptop. So, there was an automatic association. He's got to be using a 410. And he's got to have the M-Audio Studio Pack bag. And he's got to have some speakers in there. So, I mentioned it to Paul Broucek, Executive VP of Music at New Line Films, and he got it immediately.”
From the point of inspiration, the Company’s involvement with the film evolved into a unique role for Machine Head. Patty Chow, Machine Head Executive Producer, developed an intimate relationship with the filmmakers, transforming her team from composers to film consultants. Though the director had ideas about what the students’ recording kits would contain, they had not yet been crystallized; the script contained no specific details. To solve this problem, Chow’s team embarked on a musical exploration of each character.
“First, who is the character? What's the character like? What's his/her music like?,” muses Chow. “We went through a musical exploration of the sound of each character. And once we determined what that was, then we knew that kind of equipment he'd be writing with. For example, throughout the story, Kiwi was recording bits and pieces that would culminate in his final performance piece. The ability to carry recording devices around with him throughout the film became very important. M-Audio was a great company to recommend to the director because we knew they would be able to produce a method of which he would carry around his kit and it would be authentic.”
Machine Head soon became responsible for fleshing out these broad ideas and nailing down the details of each technological setup. From hours spent developing each character’s kit in their studio, to days of in-studio practice with the actors, to supervising their musical movements on the set, Chow’s team was passionate about displaying the utmost realism in the film. At the same time, they also sought to portray the process of creating music in a fun, youthful, aesthetically appealing manner.
The film’s director, Sean McNamara, looked at us and said, ‘Show us interesting, not only interesting in sound; we also want it to look interesting,’” relates Chow. “So we worked with the prop master, giving her specific instruments—gadgets really used to make music so the actors’ performances would look and sound realistic to any musician viewing the film. We worked with the Props department on what the home studio would look like. We tried to keep it true to what gear teens are using today.”
To enhance the level of visual interest, Machine Head composer Tobias Enhus supplemented the de facto portable music creation set-up—a laptop computer with recording software, keyboard controller, and microphone—with a variety of esoteric instruments. Throughout the film, Kiwi used two laptops, the M-Audio Ozone and a Solaris mic, and ran Ableton Live as his main creative environment. For the final performance, Enhus added two kinds of custom-built instruments from his personal repertoire: the Radio Baton, by Max Matthews, and two laser harps.
“A keyboard is just one way to control and shape audio; I wanted to show other ways,” explains Enhus. “With the Radio Baton, you hold two sticks in the air and you move them over a three-dimensional surface. With an instrument of that nature, you link at least three parameters at a time (x, y, and z) when you move your hand in the air. That creates a different sound than if you were to take individual knobs and twist one knob at a time.”
Behind the Scenes
In addition to using M-Audio gear onscreen in the film, Machine Head composers Tobias Enhus and Scott Salinas used several of the Company’s products in the studio while crafting many of the cues for the film score. Salinas runs multiple GigaStudios through M-Audio’s MIDISPORT 4x4s, while Enhus favors M-Audio’s Oxygen8 for controlling his myriad software programs and synths.
“My main controller is the Oxygen8,” reveals Enhus. “To have such a small keyboard as your main controller might seem limiting, but the fact that it is only two octaves forces me to record each track, each line, by itself—and that keeps the music alive. It tends to become more piano-like if you have a big keyboard, so the Oxygen8 is a reminder to stay away from that and keep it more about individual lines of music.”
Both composers are avid Ableton Live users, favoring the program for its flexibility and unparalleled feature set. Running Live through Logic via ReWire, Salinas used the program to write most of his “Raise Your Voice” cues.
“My favorite thing about Live is the ability to change tempos while keeping everything else the same,” says Salinas. “My other favorite thing is the way you can manipulate beats. The process when you use the interface is very intuitive and really feels more like an instrument and less like a tool. I get inspired creatively by the software, as opposed to it being a tool I have to use to get to where I want to go. It’s part of the pleasure of the process.”
Searching out new horizons
Since wrapping this uniquely challenging project, Machine Head has maintained a characteristically high activity level. Enhus acted as a music designer in the upcoming score for “Blade: Trinity” and is about to take the team into it's second video game project, while Salinas is currently scoring an HBO Documentary. This distinctive group of individuals is poised to extend their realm of creative influence even further in 2005.
Genesis
Born in Australia and raised in the UK, Dewey started experimenting with home recording while still in grammar school. As a teenager, he recorded and edited special effects for his high school drama productions. After graduation, Dewey seized the opportunity to work in a studio, and was soon promoted to the position of engineer. However, he is the first to admit that capturing the perfect drum sound was not his forte. Instead, using technology to sculpt sound textures and effects captivated him—and propelled his career forward in a unique direction.
“I was just fascinated by the textures,” says Dewey. “I've always been drawn to more abstract music. [While working at Fairlight,] I began to have some really good fun using this sampler to create soundscapes and sound effects sequences. I was in an encounter with Hans Zimmer and I made mention of my doing this activity. And next thing I know I was working on “Black Rain” with Ridley Scott. I got sucked up into this world and never left.”
After a number of years of working for other people, Dewey took the plunge and started to make his own artistic vision a tangible reality. His philosophies extended far beyond the realm of sound design to encompass the development and management of a new kind of company. And thus Dewey built Machine Head, a collective of individuals that offers a complete soundtrack production solution. Over the years, Machine Head has maintained an active profile in film, commercials and recording production, working with David LaChappel, Paul Oakenfold, Ridley Scott, Depeche Mode, Junkie XL, and many more. The Company has also gained a reputation for using cutting-edge technology to achieve their diverse sounds.
“People consider me technically knowledgeable; I am always the guy with the gadget,” Dewey explains. “But having said that, I don't really pursue technology unless I think it's going to do something for me. I survey the technological landscape, choose whatever I think that would be really good for doing a particular project, and go and get it. And I will often be the first.”
M-Audio on the Job
Stephen Dewey came across M-Audio gear in magazines and at tradeshows, and decided to bring it into his studio one piece at a time. A Midiman interface accompanied the purchase of his first PowerBook. From there, he moved on to the Oxygen8, and then the M-Audio Ozone.
“I can't tell you that M-Audio products have really changed my habits. But they've made my habits easier to have—just the sheer portability and functionality of the Oxygen8, M-Audio Ozone and FireWire 410 are immensely helpful. I was recently on a holiday in the south of France for a month, and because I had the M-Audio Ozone and my PowerBook there, I was able to do my work.”
Even when working on local projects, Dewey relies on M-Audio gear. His recent projects have included a series of PlayStation commercials, a Public Service Announcement for Parents For Drug Free America and a wholly unique advertisement for Porsche. In order to sonically express the spirit of the vehicle, Dewey’s team went out and recorded a Porsche using a variety of equipment, including M-Audio’s FireWire 410. The team is currently in the process of crafting the car’s engine noises into a tune.
Lights, Camera, Action
Approximately one year ago, the script for “Raise Your Voice” landed on Stephen Dewey’s desk. The film follows a young woman from a small town as she journeys to Los Angeles to attend a performing arts summer program. As Dewey read the script, several scenes evoked memories of when he had employed M-Audio gear in a variety of mobile recording scenarios.
“There is one character who is the techno geek,” says Dewey. “He's out there recording things in the field and turning them into music instantaneously on his laptop. So, there was an automatic association. He's got to be using a 410. And he's got to have the M-Audio Studio Pack bag. And he's got to have some speakers in there. So, I mentioned it to Paul Broucek, Executive VP of Music at New Line Films, and he got it immediately.”
From the point of inspiration, the Company’s involvement with the film evolved into a unique role for Machine Head. Patty Chow, Machine Head Executive Producer, developed an intimate relationship with the filmmakers, transforming her team from composers to film consultants. Though the director had ideas about what the students’ recording kits would contain, they had not yet been crystallized; the script contained no specific details. To solve this problem, Chow’s team embarked on a musical exploration of each character.
“First, who is the character? What's the character like? What's his/her music like?,” muses Chow. “We went through a musical exploration of the sound of each character. And once we determined what that was, then we knew that kind of equipment he'd be writing with. For example, throughout the story, Kiwi was recording bits and pieces that would culminate in his final performance piece. The ability to carry recording devices around with him throughout the film became very important. M-Audio was a great company to recommend to the director because we knew they would be able to produce a method of which he would carry around his kit and it would be authentic.”
Machine Head soon became responsible for fleshing out these broad ideas and nailing down the details of each technological setup. From hours spent developing each character’s kit in their studio, to days of in-studio practice with the actors, to supervising their musical movements on the set, Chow’s team was passionate about displaying the utmost realism in the film. At the same time, they also sought to portray the process of creating music in a fun, youthful, aesthetically appealing manner.
The film’s director, Sean McNamara, looked at us and said, ‘Show us interesting, not only interesting in sound; we also want it to look interesting,’” relates Chow. “So we worked with the prop master, giving her specific instruments—gadgets really used to make music so the actors’ performances would look and sound realistic to any musician viewing the film. We worked with the Props department on what the home studio would look like. We tried to keep it true to what gear teens are using today.”
To enhance the level of visual interest, Machine Head composer Tobias Enhus supplemented the de facto portable music creation set-up—a laptop computer with recording software, keyboard controller, and microphone—with a variety of esoteric instruments. Throughout the film, Kiwi used two laptops, the M-Audio Ozone and a Solaris mic, and ran Ableton Live as his main creative environment. For the final performance, Enhus added two kinds of custom-built instruments from his personal repertoire: the Radio Baton, by Max Matthews, and two laser harps.
“A keyboard is just one way to control and shape audio; I wanted to show other ways,” explains Enhus. “With the Radio Baton, you hold two sticks in the air and you move them over a three-dimensional surface. With an instrument of that nature, you link at least three parameters at a time (x, y, and z) when you move your hand in the air. That creates a different sound than if you were to take individual knobs and twist one knob at a time.”
Behind the Scenes
In addition to using M-Audio gear onscreen in the film, Machine Head composers Tobias Enhus and Scott Salinas used several of the Company’s products in the studio while crafting many of the cues for the film score. Salinas runs multiple GigaStudios through M-Audio’s MIDISPORT 4x4s, while Enhus favors M-Audio’s Oxygen8 for controlling his myriad software programs and synths.
“My main controller is the Oxygen8,” reveals Enhus. “To have such a small keyboard as your main controller might seem limiting, but the fact that it is only two octaves forces me to record each track, each line, by itself—and that keeps the music alive. It tends to become more piano-like if you have a big keyboard, so the Oxygen8 is a reminder to stay away from that and keep it more about individual lines of music.”
Both composers are avid Ableton Live users, favoring the program for its flexibility and unparalleled feature set. Running Live through Logic via ReWire, Salinas used the program to write most of his “Raise Your Voice” cues.
“My favorite thing about Live is the ability to change tempos while keeping everything else the same,” says Salinas. “My other favorite thing is the way you can manipulate beats. The process when you use the interface is very intuitive and really feels more like an instrument and less like a tool. I get inspired creatively by the software, as opposed to it being a tool I have to use to get to where I want to go. It’s part of the pleasure of the process.”
Searching out new horizons
Since wrapping this uniquely challenging project, Machine Head has maintained a characteristically high activity level. Enhus acted as a music designer in the upcoming score for “Blade: Trinity” and is about to take the team into it's second video game project, while Salinas is currently scoring an HBO Documentary. This distinctive group of individuals is poised to extend their realm of creative influence even further in 2005.
