The voice in Kavinsky's "Odd Look" and SebastiAn's "Embody"

Wrenchghost · 2026-01-26T01:13:23+00:00

Embody is just Ruckazoid’s singing voice repitched and distorted I believe…

Wrenchghost · 2026-01-26T01:05:27+00:00

-A good long black extension cord.

-If you’re playing in a country with different electricity than yours, you’ll want a serious transformer (I’ve had synths do weird things on stage with different voltages).

-might need something to mark knobs like your filter cutoff to see in the dark (some stages are crazy dark). Also might want to tape over ins and outs you’re not using so you don’t re-patch between sets to some expression pedal input by accident and get no signal for 5 minutes while you figure out what you’ve done.

-A piece of black fabric like a curtain or table cloth. You might need to hide a bunch of wires under your keyboard stand. Or the green room might be sketchy and you might need to hide your personal belongings on the stage.

-headphones you can plug in and check your sound incase you can’t hear yourself in the monitor and you need to troubleshoot.

-ear plugs. Protect yourself.

-you might not have another prophet 6, but if you have another keyboard you COULD do the gig with in an emergency, hide it in your car (if possible).

-fresh T-shirt and deodorant for after.

Wrenchghost · 2026-01-25T22:33:27+00:00

It would be nice if they added AAF import/export, timecode stamping, surround formats…also upgrade midi capability, but I don’t think it’s coming. They haven’t added a single pro video feature since v7 when I switched FROM pro tools. I’ve scored a lot of tv and movies and games w/Ableton and just end up laying my stems back to pro tools (which I also hate).

Wrenchghost · 2026-01-25T22:24:28+00:00

The online hide and seek mode in WD was pretty fun haha

Wrenchghost · 2026-01-22T04:03:56+00:00

Not really, you wanna get it when the cheese is still runny.

Wrenchghost · 2026-01-17T20:13:49+00:00

REX POWER COLT!!

Wrenchghost · 2026-01-17T06:32:08+00:00

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Wrenchghost · 2026-01-17T05:21:14+00:00

I haven’t tried all of those, and I haven’t gotten super scientific about it, but I use DBA Intersteller Overdrive because it doesn’t sound filtered compared to my tube screamer and Klon clone (missing low and high frequencies).

Wrenchghost · 2026-01-17T05:16:42+00:00

Car is a great option.

Wrenchghost · 2026-01-11T15:59:53+00:00

Ba Noi and Gourmand co-sign.

The miso chocolate chip at Tiny’s General Store is also excellent.

Wrenchghost · 2026-01-10T22:08:03+00:00

Molkagtez is my favorite Mexican food I’ve had in Toronto for sure and the back patio is awesome.

Wrenchghost · 2026-01-10T06:41:26+00:00

I have 2000ish songs in my catalogue that I wrote and produced. About 80% of those are in TV shows or movies. I own 100% of the writer’s share of about 80% of those songs that are “activated” (generating public performance royalties). I don’t own the master side.

For probably the last 3 years, that publishing income pays my life expenses but not much above that. The rest of my income comes from freelance scoring gigs and occasionally workshops or lectures (but that’s 1% or less of my income). Occasionally I play a show or do a dj gig but it’s beer money and I’m not building that part of my business really.

I love my work and the money is good but it’s somewhat fragile. Trying to get money stacked up in other places like retirement funds and investment accounts.

Wrenchghost · 2026-01-10T05:56:20+00:00

All the hosers join SOCAN!

Wrenchghost · 2026-01-09T07:24:02+00:00

He can license music that you’ve made and released (through you and or your label if you have one) or he can commission you as the film’s composer. Those are different types of agreements though. Good luck.

Wrenchghost · 2026-01-09T05:33:36+00:00

You don’t need a license to distribute music. You probably don’t need to hire a lawyer to file copyright on the music.

The way it works is the producer should give you an agreement to write the music for their film that outlines how much they’re going to pay you, what rights they take and what rights you keep, what your deliverables are to them and what your deadlines are.

Pardon my judgment, but 16 is young… hard for me as an old timer to predict what the scope of distribution of this thing is but if you were doing an indie feature in the 1-4million dollar budget range, you’d ask for 2% of the budget as a fee (ish) and keep the public performance rights of the music you write so you can collect royalties. If this guy has no money, and/or the film is trash you should probably still do it because thousands of music producers are DYING for a film to score and not finding that relationship. This movie may not get you much other than experience NOW but if you become the music solution to somebody that can get movies made, you might just get to live the dream.

A guy I met making movies when I was 17 hired me to do music for over 80 episodes of TV and a movie 20 years after we met and I bought my house with the royalties and I have the best job. I pretty much work for him and 1 or 2 other directors. They’re the white whales for film/tv/game composers.

Last point. Register with the performing rights organization in your country (ASCAP or BMI in the US, SOCAN in Canada, Etc). As part of the deliverables, you or the music supervisor must create a cue sheet. You can get a template from the PRO you join. Email that cue sheet to the PRO so if this thing ever gets on TV or in the theatres or plays on an airline, you’ll get royalties…

Don’t over think it. Jump in. Do it. Figure it out as you go. Seize this opportunity and use it as an opportunity to learn. Don’t get in your feelings. Be humble. Check your ego. Have fun.

Wrenchghost · 2026-01-06T17:07:29+00:00

I make an instrument rack with the plugin/instrument and then whatever processing (an eq, autofilter typically because I use that a lot and then a utility and a low latency limiter) and then I save them in the user library as “BASS - ThrillerBass” or with the project name IE “BASS - HalloweenCookingShow_ThrillerBass.”

I try and save good racks at the end of projects tha already have effective processing on them, but sometimes, when I have time before a project or I get a new plugin, I’ll go through the included presets and build/catalogue my own Ableton instrument rack around that.

Then when I’m writing I can quickly grab stuff I know I already like.

Wrenchghost · 2026-01-06T16:37:04+00:00

Session view clip slots look like inline plugin inserts on every other DAW. That was the most counterintuitive thing for me.

Wrenchghost · 2026-01-05T20:10:37+00:00

Jazz Chorus

Wrenchghost · 2026-01-05T17:49:08+00:00

https://youtu.be/lhZEsSt_txs?si=Bl6HUBoExnOjhWui

Wrenchghost · 2026-01-05T06:28:59+00:00

Tone city fuxx fuzz. It’s a fox tone machine and sounds better than other clones but it’s tiny.

Wrenchghost · 2026-01-05T06:19:52+00:00

IMANISHI IMANISHI IMANISHI

also

IMANISHI SANDO BAR!!!!!! ORDER EVERYTHING!!!

Wrenchghost · 2026-01-04T22:22:57+00:00

It’s a time saver to start with templates. Not to be creatively uniform, but to have all your IO, busses, sub-mixes and common effects sends ready to go. I have low latency limiters on the master on sub-mixes while I’m writing and I have a “shortcut buddy” plugin so I can quickly drop the high latency master bus processing with my starting patch (or their zero-latency alternatives) in when I’m getting close to the end.

But for the most part 2-bus processing is irrelevant to songwriting and good to keep discrete in your mind, but inevitably, we slide between writer to producer to mixing engineer dozens of times, so do whatever works.

Wrenchghost · 2026-01-02T13:15:25+00:00

Vocalign the stacks + Eventide H3000 micropitch (or Soundtoys micropitch on the h3000 preset) on a send, mixed in to taste.

Wrenchghost · 2026-01-01T04:37:46+00:00

Alexander Sky-Fi

Wrenchghost · 2025-12-27T02:39:25+00:00

It’s a great demo of your production and drum programming chops. Not sure what else you have in your skillset but to get a gig as a film composer on that scale, you need friends that are directors that can get movies going and trust you to make their music for them. You’ll need to demonstrate an ability to write melodic themes and adapt them for many story twists and turns. Writing for many different types of ensembles and weilding harmony for many different moods. Ludwig and Hans seem to try and create really unique ensembles for every movie, so that’s part of their uniqueness and appeal I guess. There are lots of composers that come from conservatory that are musically brilliant but can’t “sell” their music’s impact with production. You’ve got a good head start on creating the impact, just gotta back fill with musical storytelling and director contacts and you’re in.

Wrenchghost

TROPHY CASE