Posts tagged Karlheinz Stockhausen
Daniel Pemberton
Daniel Pemberton

Gifted Golden Globes nominated composer speaks on remodeling the work of Bach within his explosive hybrid score for Ocean’s 8, how he convinced Aaron Sorkin to let him capture the essence of a rock band for Molly’s Game, and the innovative sequence he’s most proud of from medieval epic, King Arthur: Legend of the Sword.

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Film/TV ComposersRuby Gartenberg, Paul GoldowitzPaul Goldowitz, Ruby Gartenberg, Daniel Pemberton, Costa Communications, Ray Costa, Film Music, Composer, Film Scoring, Composing, Producer, Musician, Composer Interview, Original Score, Soundtrack, OST, Film Score, Television Music, Television Score, All The Money in the World, The Man from UNCLE, The Man from U.N.C.L.E, King Arthur, King Arthur: Legend of Sword, Steve Jobs, Molly's Game, The Counselor, Ridley, Daniel Pemberton Interview, Ridley Scott, Aaron Sorkin, Guy Ritchie, Danny Boyle, Ocean's 8, The Future Sound of London, Video Game Magazine, Bedroom, Janet Street-Porter, Jean-Michel Jarre, The Grid, Brian Ino, Aphex Twin, John Barry, The Beach Boys, Ennio Morricone, Gary Ross, David Holmes, Steven Soderbergh, Ocean's Eleven, Ocean's Twelve, Ocean's Thirteen, The Italian Job, Quincy Jones, Power Station, Electric Lady Studios, Bach, Fugue in D Minor, Clair De Lune, Debussy, Getty, Run Londinium, Stockhausen, Karlheinz Stockhausen, Molly Bloom, Soundtoys, Devil-Loc, EchoBoy, Waves Abbey Road, Tape J37, Alti-Verb, Logic, Pro Tools, Black Mirror, USS Callister, Black Mirror USS Callister, Netflix, 2
Peter Nashel
Peter Nashel

The fastidious musical chameleon and co-founder of DuoTone Audio Group speaks on the rationale behind his treatment for the key incident in I, Tonya, teases out the modernized East meets West soundscapes of Netflix's Marco Polo, and explains what a vacation from your computer can do for your artistry. 

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Film/TV ComposersRuby Gartenberg, Paul GoldowitzPaul Goldowitz, Ruby Gartenberg, Peter Nashel, Film Music, Composer, Film Scoring, Composing, Producer, Musician, Composer Interview, Original Score, Soundtrack, OST, Film Score, Television Music, Television Score, I Tonya, Marco Polo, Netflix, Eastman School of Music, Manhattan School of Music, Bill Holderman, Book Club, Jane Fonda, Candice Bergen, Diane Keaton, Younger, TV Land, DuoTone, DuoTone Audio, The Nigerian Prince, Paul Cohen, Broadway, Tanglewood, John Coltrane, The Heath Brothers, Bill Barron, Kenny Barron, Wesleyan, New York, New York City, Brooklyn, Jack Livesey, Moby, Play, The Beastie Boys, The Cranberries, tomandandy, Swing House, Atwater Village, Robert Urband, Film Music Management, Manager, Alexandre Desplat, Elmer Bernstein, Michael Kamen, Susan Jacobs, Craig Gillespie, Allison Janney, Tatiana S. Riegel, Bernard Hermann, Brian Deming, Lawrence Manchester, Tonya Harding, Jeff Gillooly, Nancy Kerrigan, Shane Stant, Shawn Eckhardt, China, Mongolia, John Fusco, Jim Black, Music Supervisor, Music Supervision, Dave Weiss, The Lion King, Flutist, Flautist, Multi-Instrumentalists, Game of Thrones, Outlander, Kublai Khan, Eric Hachikian, One Hundred Eyes, The Starship Enterprise, John Williams, Logic, Omnisphere, EastWest, Kontakt, Little Phatty, Moog Voyager, Fender Rhodes, Wurtlitzer, My Dinner with Andre, Karlheinz Stockhausen, Wallace Shawn, Southold, Long Island, Connecticut, 2, 3, I, Sue Jacobs, DuoTone Audio Peter Nashel