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Deutsche Bahn Commercial Wins Awards

May 2nd, 2012

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Last year, I composed and produced the score to a television commercial for Germany’s passenger rail system, Deutshe Bahn. Though we do quite a bit of commercial music for Europe, the spot, beautifully shot, very edgy and very funny, was a bit different than anything I’d done to date with my sister company IV Music, so I really didn’t know how it would be received.

Apparently it was received well! The spot, called Der Chef kommt, won 8 awards including 2 New York Festivals Awards, EuroBest, Effie, EPICA and 3 DDP Awards. If you don’t know what these awards are… well, neither do I, but it’s always nice to have something I scored get some thumbs ups.

In the score, I was asked to strongly convey the feeling of ennui that office workers might feel, then move straight to a buffo, Big-Valley Western gunslinger as the Boss arrives back at the office, EARLY, because he’s taken the new rail system instead of driving. No problem… we all know what ennui sounds like, right? Remarkably, my first draft was accepted with a minor revision to the vocal in the second half. It was a great gig.

Here’s the short version of the commercial

And here is a great article on IV and what CEO/ CCO Steve Keller is doing with audio branding.

GDC 2012 – Experienced

March 14th, 2012

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GDC 2012

Each year, the GDC in San Francisco offers an incredible array of information, networking opportunities and chances to see friends old and new. GDC 2012 was certainly no different! Since the experience is so overwhelmingly broad, here are just a few highlights from my trip this year.

First off, there were a few stand-out presentations on Game Audio. The game audio community is comprised of some of the finest composers, engineers and sound designers working today and a few of those were on hand to share some experience in a presentation. Read the rest of this entry »

A Sampler from recent projects

February 2nd, 2012

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Dan Rudin recording Disney's Tarzan

Tarzan tracking session

Here’s some bits from recent projects. Each project had it’s own set of challenges and each was uniquely gratifying.

Country and African, Fall 2011 project update

December 10th, 2011

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Miking the bass section

Once again, fall has proven to be a very busy time here at DRR&P. Since the first week of October I have produced 2 shows for Disney Theatrical, a junior version of Peter Pan and a definitive recording of Tarzan (great music by Phil Collins), SeaWorld Orlando’s new Christmas spectacular, “O Wondrous Night”, recorded and mixed an album for vocal trio, The Marshalls, and tracked an album for up and coming Ecudoran singer, James Febris. All tracking was done at The Tracking Room, Nashville and at my studio, My Space Recording. Read the rest of this entry »

This Indie Life: Part 1 Understanding Rights And Licensing

October 21st, 2011

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Indie guide to licensing

Licensing explained for Indie artists and labels

I spend most of my professional life helping artists, bands and other clients through the process of music production. Like most of the people I work with, my love of making music is why I do what I do but it’s foolish to forget that we have business to take care of as well, so here are some thoughts and tools for rounding out your plan for Indie (or even Label) domination.

7 Steps To A Glorious Future

Yes, there is more to making a record than just production. This is why, for decades, people gladly signed over most of their profits (and most of their rights) to Record Labels, because they handled all the dirty work (leaving rock stars free to be rock stars). Let’s look at a rough sketch of the steps involved in making a successful master recording. Read the rest of this entry »

This Business Is Full Of Animals

August 31st, 2011

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On site final mix in Shamu's theater, SeaWorld of Texas


Producing music for theatrical productions presents many challenges you don’t often face when doing record, film or tv work. Whether for a Broadway style show or, in the case of “Shamu’s Rockin’ Creepshow”, a multi-media, live animal production, there are dialog, SFX, natural animal noises and odd playback systems to contend with. I find that a first-hand knowledge of the end use and venue can really informs my composition and production decisions for each project. Read the rest of this entry »

Music for whales and the Equinox Jazz Orchestra

August 22nd, 2011

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Equinox Jazz Band

Recording the Equinox Jazz Orchestra with members of the Nashville Jazz Orchestra

Last week, I recorded two very different, very exciting projects. First, Equinox Jazz Orchestra leader Jeremy Davis came to town with conductor Tommy Brinson, arranger/co-producer Bach Norwood, and singers Clay Johnson and Adam Jones. Recording for their new CD took place at Sound Emporium Studio A with members of the Nashville Jazz Orchestra filling the chairs. Read the rest of this entry »

Software review – Audio Impressions’ Notatation Switchblade

August 7th, 2011

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I recently had the opportunity to spend some time with Audio Impressions’ Notatation Switchblade, here’s what I found:

Making accurate, readable score parts from DAW midi tracks takes a bit more know-how, elbow grease and time than most people are willing to devote. Among the biggest challenges from session to page are the optimum stemming of notes (the grouping of sub-divided beats to be most easily readable), dynamic markings and articulations. And when working with a copyist, any vagaries in your midi file can add up to extra charges while the copyist verifies all instrument, mute and articulation changes.

Enter Audio Impressions’ Notation Switchblade. The company claims that Switchblade can save you time by interpreting your midi data and simplifying some of these chores for you. Switchblade reads standard midi files (.smf) and outputs Music XML (MXML) for importing into score preparation apps like Finale and Sibelius. Read the rest of this entry »

Nashville Film, TV and Game Music Production Survey

June 16th, 2011

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Are You Leading or Following?

May 17th, 2011

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Dan Rudin recording live score

How to make useful tempo maps for recording sessions, Part 2

Click tracks are often used in music recording, keeping ensembles playing tightly together and helping ensure that specific musical events happen exactly when they need to, as when scoring to picture. As discussed in part 1, a good tempo map will generate an audio click track that leads musicians easily and musically through performing a piece of music. Read the rest of this entry »

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