EXPERIMENTAL SOUNDSCAPING TO MOTION PICTURE - Part 1: Unravelling ‘CIRCLE’ OST with Raven Bush

EXPERIMENTAL SOUNDSCAPING TO MOTION PICTURE

Part 1: Unravelling ‘CIRCLE’ OST with Raven Bush

In this Lux Cache feature, composer, producer and multi-instrumentalist Raven Bush explores the techniques and workflow behind his original soundtrack to ‘CIRCLE’, a 2022 short film by Phillip Kaminiak. For Part 1 of this series, Bush uncovers the inception of the ‘CIRCLE’ OST, unconventional approaches to temp music, the breakdown of the music itself as well as offering industry insight into the world of media composition.

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• A sample library of original sounds used in ‘CIRCLE’ designed and performed by Raven Bush, is available on Lux Cache exclusively for Subscribers & Premium Subscribers.

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CONTENTS

• INTRODUCTION
• CHAPTER 1: STICKING TO THE VISION
• CHAPTER 2: TO TEMP OR NOT TO TEMP
• CHAPTER 3: ‘CIRCLE’ SOUNDTRACK BREAKDOWN
• CHAPTER 4: INDUSTRY AND WORKING WITH THE RIGHT PEOPLE
• ‘CIRCLE’ OST SAMPLE LIBRARY

INTRODUCTION

Composing music for dance films can be a challenging task, but also a very rewarding experience. As a composer, my job is to bring the director's vision to life and create a musical language that complements the choreography and the overall concept of the film. The process is multi-faceted and requires a great deal of collaboration, communication, and experimentation. In this article, I will share my approach to composing music for dance films, including my process for collaborating with the director, building a world of influences and references, and creating a unique and fitting soundtrack for the piece. My approach to composing music for dance films is a combination of creativity, technical skill, and an understanding of the director's vision. Through close collaboration, I aim to create a musical language that is expressive, dynamic, and fitting for the choreography and the overall concept of the film.

Still from ‘CIRCLE’, directed by Phillip Kaminiak and scored by Raven Bush, released 2022.

CHAPTER 1: STICKING TO THE VISION

In order to compose music for dance films, it is crucial to establish a strong collaboration with the director and understand their vision for the piece. This means creating a common ground of references, mood board, and conceptual scaffolding to guide the composition process. To achieve this, I often talk about references with the director and build a pool of influences and markers that will help define the music's style and tone.

Director’s brief for the ‘CIRCLE’ soundtrack by Phillip Kaminiak:

“CIRCLE – KONZEPT – TIMELINE

Circle is a 3 Act piece if you want to call it so. It has a prologue, a first part (clapping), a second part (consisting of 8 short solos) and the final circle of death.

The whole film will be around 7-8 Minutes long:

• Prologue 0:30 min (shamanic)
• First scene (clapping) 0:45 min (reduced a the beginning, claps going into more rhythmical stuff and going to a climax, but we have also pauses like the dancers)
• Second scene (8 solos throughout the city) 5:30 min (long part, slowing getting louder and more chaotic)
• Final Circle of death 1:00 min (fats evolving into climax< and very rhythmic)

An analogy between the modern human being, living in mass cities, and the phenomenon of the circle of death - observed in nature with ants who are separated from the main foraging party and lose the pheromone track. They begin to follow one another, forming a continuously rotating circle, commonly known as a "death spiral" because the ants might eventually die of exhaustion. Shot in Mexico City, this vibrant and impressive city is a protagonist, symbolizing life in endless high speed movement and the humans who are dedicating their lives to the endless movement, self-exhaustion in a modern capitalistic based world.”

Still from ‘CIRCLE’, directed by Phillip Kaminiak and scored by Raven Bush, released 2022.

CHAPTER 2: TO TEMP OR NOT TO TEMP

When composing music for dance films, it is very common to use a temp track as a placeholder for the score. This can be a useful tool to help guide the composition process and provide a starting point for the director and the composer to work from. However, temp tracks can also be a source of inspiration or a limitation. When a temp track is used as inspiration, it can be a great way to understand the director's vision and the tone they are trying to achieve. For example, if the director wants to convey a certain emotion or atmosphere, they may choose a temp track that they feel represents that feeling. This allows the composer to understand the direction they should be heading in and can help them to create a composition that fits the tone and mood of the film.

However, temp tracks can also be a limitation, especially when they are of very high quality and standard. For example, if a seminal classic is used as a temp track, it may be hard to match the quality and style of the original by the deadline. This can create pressure for the composer, who may feel that their own composition is not good enough to stand up to the temp track. As a composer, I try to use temp tracks as a starting point and then develop my own unique composition, taking elements from the temp track and incorporating them into my own style and aesthetic. I believe that it is important to use temp tracks as a guide, but not to let them limit the creative process.

Additionally, when working with temp tracks, it's important to consider copyright laws and clearance rights. Some temp tracks are not available for use in the final film or television production and can result in legal issues. It is important to work with a music supervisor or legal team to ensure that all temp tracks used in the composition process are cleared for use in the final production.

CHAPTER 3: BREAKING DOWN THE MUSIC BEHIND ‘CIRCLE’

In this section, I will share some of the specific techniques and approaches I used to compose music for a piece called CIRCLE, which was directed by Phillip Kaminiak and shot in Mexico City. The concept of the piece is an analogy between the modern human being living in mass cities and the phenomenon of the circle of death observed in nature with ants. The choreography and the visual elements of the film are meant to convey the endless high-speed movement and self-exhaustion in a modern capitalist-based world.

As a composer, my process for creating music for dance films begins with selecting the sounds I will use for composition. For this particular project, I focused on recording through a microphone into effects pedals. My studio is set up in a way that allows me to send any input, including the microphone, through my pedal chain. This technique of splitting and sending a mic signal in parallel to guitar pedals is an amazing way to create sound design and can lead to unexpected results.

For example, the opening sound in the film is feedback from using open-back headphones through a fuzz pedal. Originally, I was aiming to record percussive sounds using alternative bowing techniques, but I was gifted with this rad feedback which became a big part of the opening scene. Embracing mistakes is always a good look.

Photograph of analogue equipment used in the production of ‘CIRCLE’ OST, c/o Raven Bush

On the other hand, I made a stylistic choice to use a plugin over the real thing when it came to the reverb. I chose the over-driven spring reverb from Arturia, as it sounded better in this context than my original Telefunken mid 60’s reverb.

Photograph of Telefunken mid-60s reverb, c/o Raven Bush

Another important element to consider was the clapping phrases that were part of the choreography. The pre-existing claps were not recorded to my liking and were also out of time in places. I had to re-create and add my own claps along with the edited original, as well as the clave for added transients and focus. When it came to the drums, I moved the hi-hat really forward, which gave it a wonky urgency. I believe it is important to nudge things around when programming drums, so that all the transients aren’t hitting together all the time, as it also helps with feel.

I also used pre-existing homemade samples that I had previously created. On days when inspiration for composition isn’t there, I encourage exploring new production techniques and creating a bespoke library of custom-made sounds to draw from.

For the strings, I wanted to create a bendy snake-like melody, so I improvised a load of sliding around, then chopped and edited it together. I am a big fan of Ableton’s different algorithms for warping, so I’m always pitching strings down and around, blending layers of them together.

Mastering the soundtrack is an essential step for me in the process of composing music for dance films. One of the most important aspects of mastering is my master chain. I use Jaycen Joshua’s hallowed Ozone settings, which are a crucial part of my mastering process. The magic is in the multi-band, the way it controls the mids is very useful. You want to aim for 1db reduction max on the low, 6-7db on the mid and just tapping or not at all on the top band.

I also use The God Particle, JJ’s own plugin that does the same kind of thing. Putting these on the master before I mix is so important, it just gives you the glue and control of frequencies from the get-go. I can’t recommend these plugins enough. I am more than happy to borrow techniques from masters in the game. There are so many elements to think about when making a track, anything that helps you get the sound you want quicker is only a good thing.

Still from ‘CIRCLE’, directed by Phillip Kaminiak and scored by Raven Bush, released 2022.

The final stage of my process is working with the editor. This is often my favourite part, as things are in place and established. I find it great to have fun with the editor, as the rhythmic exchange that can happen between the two of us is when the music and the edit really come together. The editor and I develop real moments within the video, getting into hyper details and inspiring each other with rhythmic and dynamic shifts. An interesting point to me is that video editing software and music DAW’s differ in terms of the timeline. They don’t look at things in BPM and Bars, it's all timecode based, which means they aren’t being sucked into the grid-like producers can be, which means they come up with some great rhythmic feels!

For this particular film, the music and video were symbiotic, they couldn’t have existed without each other. We developed a workflow where the music and edit were being made simultaneously, the edit would influence the music and vice versa. This is quite unusual and gives equal importance to both elements. For me, this is the true goal of collaboration, to end up with something greater than the sum of its parts.

CHAPTER 4: INDUSTRY AND WORKING WITH THE RIGHT PEOPLE

Working with the right people is essential when composing music for dance films. It is important to build on strong connections and collaborate with directors and choreographers who share the same vision and aesthetic. In this case, I had the opportunity to work again with Phillip Kaminiak, with whom I had previously collaborated on another piece called Cass and Lex. When you find your people, it's important to seize the opportunity to work with them again and build a long-lasting collaboration.

Going with the flow is also an essential part of the process. The best collaborations and friendships are always formed very naturally. I met my collaborator, Phillip, because I was in Berlin working with a choreographer and he was filming the rehearsals. We got on well and he mentioned he was trying to find the right composer for a project he was working on. I sent him some music and we began working together.

It's turned into the most fulfilling collaboration for me working with Phillip, one that I can see growing over many years. It’s so important to do today what you want to do tomorrow because the work you’re making now leads to more of that same work. I also feel that aligning with exactly what you want to do brings in the right connections for you to flourish in that area, like attracts like.

Still from ‘Cass and Lex’, short-film directed by Phillip Kaminiak and scored by Raven Bush, released 2020.

• A sample library of original sounds used in ‘CIRCLE’ designed and performed by Raven Bush, is available on Lux Cache exclusively for Subscribers & Premium Subscribers.

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Raven Bush is a composer, producer and multi-instrumentalist based in the UK.

You can watch ‘CIRCLE’, directed by Philip Kaminiak and scored by Raven Bush, on Vimeo.

You can follow Raven Bush on Instagram @allsoundismusic and listen to his music on Bandcamp.

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