I think part of it is that the best software will be able to do is give you something that is complimentary the visuals. I think the best music is where it actually counterpoints the visuals and then suddenly you’ve got a very interesting relationship going on.

An example of this would be if you had someone being tortured to a really upbeat, cheerful soundtrack (Pulp Fiction anyone, or is it resevoir dogs?)

Apologies for the shameless plug, but if you’re in short supply of sound artists/composers drop me an email and see what I’m up to at that point. Most of the stuff I’ve done is for theatre/dance, rather than film, so it’d be a little strange having to make a recorded score (normally I work with live musicians), but there’s always time to start.

There are two kinds of artists that make me a better filmmaker.

1) A Top Notched Graphic Designer

2) A well versed music composer

Funny thing is I know plenty of talented graphic designers but have not blended a collaborative relationship. I’d love to begin a professional relationship with a music composer. But I know that is a $$ problem. The budget for the work I get independently has no wiggle room for a graphic designer or a composer. I haven’t hit that next tier where the clients want a professional score.

This software won’t ever replace a human composer especially if you want some kind of emotion with the music. That is one thing the software can’t do… for now.

I’ve only used Soundtrack Pro 2 and a couple of sound libraries. I prefer Soundtrack as I can create loops and create fun tracks.

SonicFire sounds great. I wouldn’t mind trying that out sometime. Thanks for mentioning that.

It would be very tempting to complain about being “Put out of a job” but I think that would be stupid. There is no way, no matter how good the algorithms get, that this will in any way suceed in replacing a human.

However, I have worked with many directors who see the music as “An afterthought” and I have always thought that a lot of the time it would be better if such projects didn’t have music at all.

I think a program like this could encourage this same idea – to see music as an afterthought rather than something that can transform a sequence into something else.

If used for sketches and starting points, that’s an entirely different matter.

Like I said, my feelings are mixed.

Have you tried SonicFire from Smart Sound? We use it in addition to other libraries.

It has professionally composed tracks that are really many components divided in a way that lets the SonicFire software compose a piece of any length. Unlike fixed libraries, which often requires that you fade the end out, it puts a nice beginning and an end on the piece. It also allows you to change the instrument mix with key frames (which they call mood mapping, IIRC).

It comes with a dozen or so tracks to begin with. You can buy more CD-ROMs with more tracks or you can preview and buy tracks through their on-line interface directly inside SonicFire. All in all, not a bad method.

Peace,

Rob:-]