With the season finale of composer Kevin Blumenfeld’s latest project, go90’s In the Vault, airing last week, we decided to speak with him about successfully completing the first season and a few other topics. Read below.
When beginning work on a project, such as In the Vault, what is the first thing you do?
Aside from the initial fear, the first thing I typically do is begin creating my template. Finding and creating the right palette of instruments goes a long way in being prepared. I’ll also sit at the piano and come up with various potential themes. Some I’ll never even use. Some end up working out on other projects.
Were there any specific challenges composing In the Vault and, if so, what were they?
The biggest challenge was probably being that the score is entirely electronic. There’s a tremendous amount of sound creation, which is a ton of fun. But when you have a tight schedule, you have to really keep an eye on the clock. Another challenge was incorporating the great ensemble of characters. We wanted to have somewhat of a subtle motif reserved for each character without spoon feeding it too much.
What instrument(s) did you find was key with this particular project to set the tone or musical theme you were striving to achieve for In the Vault?
An instrument that I ended up using quite a bit was one I actually created in Reaktor. It ended up sounding almost like a synth organ of sorts.
Did you end up with a specific sonic palette to continually draw from for In the Vault, or did the sound of the show simply keep on evolving and expanding as you continued working on it?
I’d say both. Obviously, we started with this very deliberate electronic template. But as the score developed, you find new moments and opportunities that require something else. Sometimes it can end up being like a game of telephone.
In school you studied advanced electronic music. Have you noticed any changes in that specific genre of music since you have been out of school? If so, what are they?
The approach to the fundamentals of electronic music really haven’t changed at all. It’s the software and library community that evolved the most. In many ways it’s a lot more accessible. The potential is limitless.
You have worked with composers such as Hans Zimmer and Harry Gregson-Williams. What is one thing each of them taught you?
With Hans and later Harry, it was my first experience working for a composer. Seeing how a production of that scale operates was life changing. You have a tremendous respect for how massive it truly is. More than anything, I learned how essential it is to be prepared and to assemble the right team. It literally takes a village. Working with the right people allows you to focus solely on writing.
Is there a program or plugin that you find yourself using frequently?
I’d say Cubase is the software I’ve had the longest relationship with. I’ve used it from the very start of music career. I honestly can’t imagine using any other sequencer.
You can learn more about Kevin at http://kevinblumenfeld.com/.
