Saying that Michael Wandmacher is a diverse composer would be an understatement. He has scored everything from video games (Bloodborne), horror films ( My Bloody Valentine), huge franchises (Underworld: Blood Wars) to comedic sitcoms (The Goldbergs). He also recently received critical acclaim for his original song he created alongside Evanescence's Amy Lee for the film Voice From the Stone. We talked with Michael about some of his musical achievements and what can be found in his studio these days among many other things in the exclusive interview.
You have been scoring ‘The Goldbergs’ for a while now. Do you have a specific music palette for the show or does the sound simply keep evolving from season to season?
The music palette is pretty specific. Most of the cues are done using a 5-piece combo. It’s very much like a band is scoring the show and the cues have the feel of being little songs as opposed to more traditional score. This approach helps give the show a spontaneous, fun and vibrant feeling. The rest of the music is made up of orchestral/choral moments and sequences that are 80s-specific, usually utilizing era-authentic hardware like drum machines and synthesizers.
How do you think your music has changed from the 1st season of The Goldbergs to now?
The core sound of the show has remained pretty much the same since season 1. Mainly because the producers like the idea that the music “brands” the show and gives it a through-line across all of the episodes. It’s important that you may be standing in another room, hear a cue and know that The Goldbergs is on TV. One part of the job that has expanded greatly is the re-arranging of classic songs and showtunes for the cast to sing and perform to. It’s now going way beyond just doing the Big Tasty rap tracks, enough so that we actually released our first soundtrack album this season!
What has been your most challenging project, musically, to date?
Each new project presents its own set of challenges that always seem to push the boundaries of what’s come before. If I were to single one out, Voice From The Stone was particularly demanding in that it was such a major turn for me in style and approach. It’s always good to keep facing new creative puzzles like that and it really helped me grow as a composer.
You collaborated with Amy Lee from Evanescence on a song for the film ‘Voice From The Stone’. What was that collaboration like? Did Amy teach you anything in particular during this process?
That entire process was a career highlight! Amy is a creative force. Just being in the room with her automatically brings out your A-game. I loved every minute of it. It is always inspiring to be allowed insight into someone’s else’s creative process. Amy has the ability to tap into a deep state of “flow” when she’s working and music starts to just pour out of her. Watching that happen was incredibly moving and I hope that I can bring more of that type of connection to the material to my own work.
You have scored a lot of darker/horror films including the upcoming ‘Patient Zero’. Why do you think your music has resonated so well in that genre?
I think the reasons are twofold. First, I love the material. I’m a genre kid who grew into a genre adult. Horror, fantasy, sci-fi, comics, anime…they’ve all been my go-to subjects since I can remember. Second, I believe in leaving the door wide open for a creative approach to a horror score. I always go into each of these projects with a broad palette in mind, which leads to something interesting and unexpected while increasing the impact of the overall final product.
Do you have any new equipment in your studio you would like to discuss?
What’s funny is that all the discussion these days is about OLD equipment. Synthwave music has brought back old gear in a big way. The most talked about things in my studio are synths, guitar boxes and other weird hardware that’s decades old. Trying to figure out how to integrate that stuff into a modern scoring rig has been a formidable and fun challenge!
