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Jason Bentley: Here we are in Critical Mass Studios. This is my friend Tobias. Jason Bentley: Hi, Tobias! Tobias Enhus: Greetings. Jason Bentley: So this is where I have brought the Twilight remix. Now as I mentioned it's a special challenge, this particular queue because it's a film score queue and it's also a romantic theme. So it's not something that would immediately suggest, oh remix. Throw some beats in there, take it to a club, have a DJ play it. It's not really that kind of a project but for this and part of being a producer with a good vision of the court, vision of the field is understanding what kind of talents you can put in play on a project to realize it in the best way. So this is really why I approached Tobias to work on this.
Tobias' background is as a composer. I have known Tobias for a number of years. We met a few years back and we have collaborated on a few different things over the years. And I just knew that he had a particular skill set that would really help this particular project, simply because it's really about trying to extrapolate a score melody, a romantic melody and draw that out more. So with his skills, his background and also just knowing him personally, he has a special affinity for electronics and sound design along with score. So that sort of skill set meant that he was the perfect person to be on the team for this project.
As far as how we began this process, as producer I described what kind of approach I wanted. I played some things for Tobias just as a stylistic example. There's certainly a prominent melody in this romantic theme. It's clearly a romantic theme. And that's the main thing, other than some orchestral flourishes. Those are some of the things that you immediately latch on to and we can play a bit of that from the original Carter Burwell piece of Bella's Lullaby.
(Music playing. Piano.) Jason Bentley: So that's the money shot. That's really the hook. There's another brief queue which is more of the orchestral flourish, I think it's something that Tobias would probably agree was something that jumped out and was just pleasing to the ear. You know it was like okay, this is something we would like to see repeating and becoming.
Tobias Enhus: Yeah, it had a very sort of organic, nice texture to it. But that was the piano a bit singled out and here's the orchestral bit that we kind of singled out too. (Music playing. Strings.) Jason Bentley: Also we should say that these elements are drawn out of the multi-tracks from the original. So we were provided with the session from the score session. So, there are actually quite a few challenges and difficulties in reining that information in and that music in because it's not something that's to a grid, and is syncopated exactly. And so in the early stages -- Tobias Enhus: Someone conducted that so there's a free hand in there somewhere. And as with most score there's like a little fermatas, little pauses and breaks, and even if they may have a click track somewhere in the back in their head and through headphones, it's still a hand that's conducting it. So tempos are being moved, shifted and they may come back and land on the beat, but that's a little bit of the challenge of sort of just getting it on the grid.
Once that was somewhat established, I basically went off on my own and just started dial up the toys and see what I could get out of it. And taking the parts that we decided on, latched onto the theme, make sure that we still retained the theme but still kind of build the body around it, and really just send it through all kinds of processes. So for something like this it's always fun to throw the bits into Kyma, see what happens, toss it around and see what we can get out of it.
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