Poison For Dinner Soundtrack in Logic Pro X

The full score for Poison For Dinner was made in Logic Pro X using a midi keyboard and an electric guitar plugged in through an iRig. That’s it. No fancy hardware other than my computer. The video was compressed to a playable and light format (H.264) and off we went. It’s not an amazing piece of work, but it was made with lots of sweat and passion. You’ll have to bare with us here, this was our first time scoring to film. And it was amazing. As far as plugins goes, everything was stock. Yep! Logic Pro brings a crazy bank of sounds (10-15 GB) to explore. And their EQs, Compressors, and etc are more than enough. They’re good. Really good.  Through Recording Revolution we come to realize that we don’t need anything else other than what comes with the DAW.

truth is, our studios are over bloated with stuff we don’t need – creating a lethargic and slow music creation process that both confuses us and holds us back from really creating art that matters. — Recording Revolution

So,we kept it simple. The score was inspired by the first few notes you hear. Then the rest came naturally to us. I can’t explain it. We had to trust our gut, emotions, and compliment the visuals. In a course of 2-3 days, it was all set to go. We mostly worked at night. When it came to mixing, I had no clue what I was doing. The only advice I knew was to mix mono, check your levels, and trust your ears and the sounds coming from other different devices. This is no excuse, but to a certain extent it’s very true, it’s all subjective. But I had to be careful and play my cards right. Because we were crunched with time, we had to move quickly.

We completely love the dynamics of this soundtrack. It was something we totally weren’t expecting. It trained us to respect the scenes, acting, and flow of the movie. Even I as the director was challenged. When we step back and look at the big picture, we can see that it does have a tint of what we always do. The use of minor chords, layers of guitars, the use of silence, eerie-ambient sounds, and a bit of strings (which I’ve been digitally practicing to imitate).

As a film director-composer I’m not looking to reach the giants or play orchestral music. I’m in the business of creating my own style for my own films. This is what’s going help me stand out. I believe and hope.Not that I’m unique, but I’m being me 100%.

There’s plenty things in the film and music I can point out and say “I don’t like this. This sucks.” Why bother? I guarantee that our next project will be better. We are now more experienced encouraged and hungry to do it again. And it will happen again.

And you know what, we we’re nominated for Best Film Score. How about that.

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