1. Didja accidentally blow through the whole, "We're using our real names" thing on registration? No problem, just send me (Mike) a Conversation message and I'll get you sorted, by which I mean hammered-into-obedient-line because I'm SO about having a lot of individuality-destroying, oppressive shit all over my forum.
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Topic Requests

Discussion in 'Info, Requests, etc.' started by Mike Verta, Jul 2, 2017.

  1. In a way, this could actually be considered Virtuosity pt. 2
  2. What about an Elfman masterclass...?
  3. Or maybe a "Nightmare before Christmas" masterclass as a Christmas special. :D
  4. Indeed, I re-watch it every now and then, learning new things every time.
  5. Great Idea!!
  6. I just finisehd Virtuosity 1 and for some reason thought that would be the point of it. So I absolutely would love a part 2 which states how to actually balance the damn thing. :D
  7. What about a class on Comedy Cues?
    Trond Borresen and T.j. Prinssen like this.
  8. I 2nd Comedy Cues as I've found those the most challenging to get right.
    Also a masterclass on Herrmann and Goldsmith would be great!
  9. I'd love a David Newman class some day!
  10. #51 Kim Arnesen, Jan 2, 2018
    Last edited: Jan 2, 2018
    Hi, I’m new here and have just begun taking some of the Masterclasses.

    I was wondering if you could do one about some of the older heroes in European film (that I consider to be masters of orchestration) like Alfred Schnittke, Wojciech Kilar and Michael Nyman? Maybe also Zbigniew Preisner. They are all both classical concert music composers and film composers and have a very different style from the Hollywood sound, although Kilar did a few American sounding scores.

    Being European and coming from the concert music scene myself it would be very interesting.
  11. How about something on visual design?
  12. #53 Luke Johnson, Jan 4, 2018
    Last edited: Jan 4, 2018
    Sure I have said this before on VI-C but I would love to see Mike transcribe and mock up an entire cue (that Mike has never transcribed before). How about a Cue from the newest Star Wars film? I haven't even watched it yet but I know JW wrote the music and could be interesting watching the whole process and at the same time learn more about using VIs. Could just be fun and I'm just thinking out loud. Transcribing seems to be the most important thing ever so why not do a Masterclass on it.
    Claude Ruelle and John Royski like this.
  13. I second Luke Johnson - I think a transcription masterclass would be interesting.
  14. How about a class on how to manage money for musicians and composers? Mike mentioned it during Unleashed and I actually thought it was a good idea.
  15. #56 Claude Ruelle, Jan 6, 2018
    Last edited: May 23, 2018
    I think that could be a good idea, but I don't know what Mike could say other than: "Transcribing... Fucking do it!!" - Maybe go through the process, but I don't know if it would really help. Would be pretty cool to see him transcribe live though.
  16. Between the Unleashed videos and others I've done more than 40 hours of transcribing live on the air. You get absolutely nothing, skill-wise, from watching me do it; it isn't complicated. It might hard to do, but not because it's complicated. Indeed, just do it. Post your own process if you'd like, but this would go squarely in the category of "videos for people who like to watch videos" versus ones that are truly and practically useful.
    Rohann van Rensburg likes this.
  17. I really try to keep my classes centered on techniques I actually use, composers I've actually studied; that sort of thing. For sure I've heard some of these guys' work, but nowhere NEAR exhaustively for me to consider myself an authority on teaching them or their approaches! Hopefully, you will find many parallels between what I DO teach and what they've used - chances are good :)
    Rohann van Rensburg likes this.
  18. That might be more on advanced class topic. But it could be like a Johnny 3 and that is: The action music underscores of Williams. There is this fine line between total randomness and controlled chaos which he is a master at with and there is very less known about how to approach those williams esqued action music. When I listen to his stuff regardless if from starwars (e.g. the battle scene between Obi Wan and Jango Fett) or Indiana Jones (various Action scenes) I often wonder: Well..this sounds so much all over the place and still it doesnt sounds random because he features an anchor somehow. But how he does it actually. So I would appreciate if Mike takes 2 examples and deconstruct them a bit and then he would show by that an example where he creates a "version" of it with his own ideas. I know that this is very specific but I would be interested in such things. Maybe Mike could present a few typical techniques which are like bread and butter sort of thing.
  19. I agree :) This would be awesome.

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