Shockwave-Sound Blog and Articles
Dan Morrissey – special Artist feature

Dan Morrissey – special Artist feature

If you’re a regular user of Shockwave-Sound.com you’ve probably seen the name Dan Morrissey (full name Daniel Peter Morrissey) mentioned as the artist and songwriter for many of our tracks. In fact, with 742 tracks in our database at the time of writing, Dan is the most prolific contributor to our stock music catalog and his music spans hard rock, ambient, acoustic, electronic, experimental, light rock / pop-rock and more.

Dan Morrissey photo

Dan was born in Fulham, London England, but grew up in Wallington, Surrey (again, England), where Jeff Beck also lived. An only child, Dan spent his teens and early 20’s working in music copyrighting and motor insurance, and by the time he was 23 he was in various original bands, touring around England and, somewhat remarkably – Turkey.

Dan has played and written with many rock bands through the years, including Fever 103, Raider, Atomgod, Tantric UK and God’s Little Joke. These are not groups that most of us will have heard of, but Dan looks back with joy on these years and on playing gigs along with more famous outfits like King’s X, Filter and Sevendust.

As Dan himself puts it, he is now “just past that age where schlepping around the country in vans and lugging gear” is just beyond him. He does, however still write a lot of amazing music and produces tracks in his own studio.

Dan, in his natural habitat

I caught up with Dan for a talk recently and got the chance to ask him about his life and his music.

– I’ve seen some prolific composers in my time, but you’re quite possibly the musician with the most output I’ve ever known. Is there ever a time when you’re not producing new music? You must be working on something new pretty much all the time, I guess?

Dan: “Music is both a love of mine, a deep passion that I rarely stop thinking about, and – and obsession. My brain whirs deep into the night sometimes, considering this phrase, that beat, this sound, that mixing technique. I sometimes wish I could just switch it off. I rarely stop recording music for longer than 2 days. Then I get an itching to get back to it. If I stop writing for very long, I feel as if water behind a dam is rising and ready to burst out. 


Recently I’ve been branching out into different styles of music, mainly piano based. This means that calluses on my fingers have actually gone a bit soft! But when I get back to playing guitar, I think there will be a tidal wave of new tunes, ready to break out.”


Dan, rockin’ out




– Besides the obvious source of income that the music represents for you, what else does composing music give you, on a more personal level?

“Aside from making a living doing what I love, music is a comfort. Like an old friend. It helps me relax sometimes. Other times it gets me motivated. I feel there are just so many tracks I could write and so little time. When I sit down at my computer, I could write a track in any one of 10 different styles. I have such a large palate of sounds available to me now, it’s great to have such a wide spectrum of options.


Overall, though, writing just keeps me sane and provides an outlet for the machinations of my overactive mind. Sometimes it’s hard to switch off.”

– Do you have any favorite pieces that you’ve written and recorded?

Hmm, though question. It’s very difficult to say which are my favorites. Sometimes I actually forget what I’ve written and only when I listen a year or so later, it all comes flooding back. Often, I can’t quite imagine what inspired it’s creation. It’s almost like it was written by my identical twin in a parallel universe.


For guitar tracks, I’m quite proud of tracks like Sunblade, Incendiary, Nebula, Solar Winds and Forgive. They came out very nicely, I think. You’re never sure of how the tracks will  sound when completed; whether they will summon the spirit or convey the emotion you had wanted them to.


This random method of composition can often help you avoid the kind of chordal and melodic cliches that we fall into on our main instrument. Just from all the years of playing what we enjoy and know we are capable of playing.

A vintage AV Telecaster and a G&L l200 bass

– You’ve obviously written a lot of music that ended up being used in probably thousands of different media projects including films, games, presentations and more. Have you noticed or found some sort of pattern or “typical” criteria, that people are looking for when they look for music for their projects? What do you think people go for, and what makes them choose one music track over the thousands of other tracks available to them?

“I’d say that all my music contains one or more of the following elements – Intensity, beauty, power, space and/or epic grandeur. At least I hope they contain some of those.


I often find that American clients prefer my guitar music to compositions written by their own countryman. Even though I’m playing music influenced by many many american bands, I still manage to impart an English perspective and style to the track. perhaps it’s an element of either snotty English punk attitude or bands like Led Zeppelin that I find I can inject into my compositions.”

– The electric guitar is usually quite a dominant element in your music, and you’re obviously a highly skilled guitarist. But I notice that you also write and produce some music that doesn’t involve guitar at all. What’s the thinking behind that?

“Although I’ve been a guitarist for 30 years now, I learned piano and flute until I was about 13. I was also brought up on classical music, so I do love piano, plucked instruments like the harp and cimbalom, and orchestral strings. I enjoy the textures and the ease with which it’s possible to create simple but emotive phrases. 


Guitar based tracks take a lot more intense internal drive and fiery passion to record. It’s very nice sometimes to just sit down at a keyboard and kinda throw your hands down to see what happens. Beautiful moods and heart wrenching emotions can be created and reflected fairly easily like this, I find.”

An Ibanez JS1000 and a Squier Thinline chambered telecaster

– Let’s say you’re just sitting down to do some work – typically, where do you start? Do you just switch everything on, place the guitar in your lap and start experimenting until some ideas for a melody comes up?

“Yes. I just plug in, go through some guitar sounds on my Kemper amp and see what happens. Or alternatively, get a cool drum groove happening. Usually something will happen within 10 minutes, otherwise I’ll change instruments. If nothing starts evolving fairly quickly, I might stop for a while, for fear of forcing creativity. I am not, fortunately, dogged with writers block very often. I can get something interesting going quite often, and fairly swiftly. 


That’s not to say that everything I record is great. Very far from it. But I feel you have to clear the way of dross for the more inspired music to spring forth in its full glory. Does that make sense? I hope so.

Can you remember the first time you were in touch with Shockwave-Sound.com and if so, do you have any particular memories of that?

I’ve been working with Shockwave-Sound.com for a good while now. You seem to care about and connect with your composers much better than most companies. Most library music companies will treat you like just another number, one of the many thousands, usually. But Shockwave-Sound.com is a nice company to work with. Very personable, enthusiastic, dedicated and efficient. I always appreciate the massive amounts of sheer hard work you put into every project. I’m very honored and happy that you take a deep involvement in my music and give me in-depth feedback. It can be a faceless business we’re in and often, getting our music out there is a thankless task. Shockwave-Sound.com makes this job more rewarding all round, so I’m very grateful for that.

– Thanks for that, Dan! Now, do you also write bespoke music for projects “to order”, or do you now only write for stock music / production music catalogues?

I write for many different projects. Of course, it’s mostly for production music purposes and gets used around the world for an array of different projects – from beer ads and martial arts troupes, to talk sport radio, motorsports, extreme sports, magicians’ sites and “Babestation“, of all things!


Some times I get asked to write little pieces, given a specific brief and also record and co-write songs and mix vocals for a fairly successful Texas management company, for the various up and coming artists he has under his wing. These are mainly pop-rock acts from the USA and Australia.


I love instrumental music and most of what I do is exactly that, but songs are really where my heart lies. Working with vocals adds another dimension of power and meaning to music. I’m very lucky to still be able to do this, with my recording project God’s Little Joke, despite the fact that we don’t tour any more.

God’s Little Joke. Dan Morrissey fourth from left.

– I’m guessing you have a few different guitars, do you want to say a bit about them, and which one(s) is/are your favourite axe(s)?

I have a Vintage AV2 Icon Telecaster i e-tuning. It has a very low pickup output and thus great tone. Very responsive to fingers and picking velocities. It’s great for country and blues stuff.


My workhorse guitars are a Dean Doltero Braziliaburst and a Squier chambered Thinline-style Tele for drop D chunky rock tracks. A Walden acoustic which has a great resonant, room-filling sound. An Ibanez JS1000 for when I’m in the mood for some improvised lead playing – it just makes me play better, somehow. It’s also the only guitar I have with a tremolo arm.


And last, but not least, a PRS SE Clint Lowery for super detuned, chuggy metal tracks. Personally I don’t like 7-strings guitars, so the SE plays fantastically in that lower register. A brilliant guitar for the money spent.

Traben Neo Ltd bass, PRS SE Clint Lowery and Dean Soltero Braziliaburst

– Can you tell us a little bit about your recording setup, e.g. which sequencer / digital audio workstation you’re using to record and edit your stuff, and which instruments / plugins / virtual instruments / keyboards you use most in your work?

I use Logic 9, an RME Fireface 400 audio interface, and Yamaha HS80 monitors, which are absolutely fantastic. By far the best I’ve heard in their price range. I also use a Focusrite ISA One preamp and a myriad of software plug-ins. Lots of Waves plugs, mainly for compressors and mixing vocals, when I need to, Spitfire Audio harp and orchestra samples, really fantastic and unique. Sample Logic, Soundiron and 8dio stuff, which all work in Native Instruments Kontakt Player. I also use some Rob Papen and UH-E synths and Spectrasonics RMX and Trillian plugins. 


Izotop provide my mastering software. Ozone 7 is a great tool for us non-mastering engineers, with which to polish up and add punch and a pro sheen to the tracks.


One of my best buys from recent years is the Kemper profiling amp. An astounding and amazing piece of kit. Truly a wonder of modern technology! Through this wonderful object I can obtain the sound of over a thousand different amplifiers. And it takes up a great deal less space! When I sold my treasured ’82 Marshall JCM 800 split channel head, I went to a JMP guitar preamp… but then came the Kemper and I’ve not looked back since.


You gotta have some pedals!

– What about your Piano sounds; where do you typically get the samples/sounds for that?

For piano sounds, recently I use Native Instruments-The Giant, 8dio’s 1990 Prepared Piano, Native Instruments – Una Corda, and Soundiron’s Emotional Piano.

– With all that time spent writing and recording music, do you ever get a chance to simply listen to music?

I’ve noticed that the time I have to actually listen has badly diminished over the last 5 years or so. It’s a bit tragic really, but I feel I have so much music to write. Some times I just have to make myself stop, relax and absorb someone else’s creative spark. My CD and record collection has gone from about a thousand vinyl and a thousand CD’s, right down to about 300 CD’s now. I realized I was hardly touching most of them and thus wouldn’t miss them that much.


Mostly, I listen to music in the car. It’s a great way to be able to go on a musical journey whilst also on a geographical one! They enhance and compliment each other very nicely, I’ve found.

– What are some of your favorite artists?

Hmm, so many influences. I suppose, in some kind of rough chronological order, I’d say Beethoven and Rossini from my childhood and the influence of my parents.


Then came Abba, Queen, XTC, Blondie, The Stones, Led Zeppelin, UFO, early Whitesnake, Rush, Aerosmith, Toto, Thin Lizzy, Jourrney, Van Halen, Black Sabbath, and many, many hair metal bands who are often unlistenable in this day and age!


Then on to Pearl Jam, King’s X, Alice in Chains, Killing Joke, Quicksand, Nine Inch Nails, Our Lady Peace, Flyleaf and Imogen Heap. And perhaps the top of the pile – Tool, a truly terrifying band. I just hope they start recording again soon. They’ve been away far too long.


Tool, one of Dan’s favorites and inspirations



Some of my favorite guitar players would include George Lynch, Alex Lifeson, Jimmy Page, Joe Satriani, Gary Moore, Neal Schon and Steve Lukather. But I admire thousands of players, I really could go on and on.

– Finally before I leave you alone and let you get back to your recording, Dan — Would you have any advice or guidance for a young music writer just starting out on a long journey, trying to make a living on writing music? Any do’s and dont’s?

  • I’d say – Listen to all sorts of bands and music, even if it’s just once. 
  • Take on board what other musicians tell you, and if you can find a mentor, listen hard to what that person says. 
  • Always go with your heart. 
  • Learn to play what you want to hear.
  • Practice until your hands and your head hurt.
  • Play along with anything that comes on to your TV: Commercials, jingles, soundtracks. It’s all good training for the ears. 
  • Never make music just to please others – you’ll lose your soul.
  • Gain as much experience as humanly possible.
  • Try to find a balance in your playing, between technique and gut instinct, and you might find yourself half way to brilliance.
  • Commercial success is not what makes a musician great… or happy.

Thank you for those words of wisdom, Dan! And thanks for taking the time to speak with us. It’s been a pleasure.

For those who wish to check out the work of Dan Morrissey, you can hear all of his available production music catalog here: https://www.shockwave-sound.com/browse/artist/dan-morrissey

Dan also has 21 solo albums out for sale via CDBaby.com. Here are just 4 of them:

Four of Dan Morrissey’s solo albums, available via CDBaby.com
Special release feature: “Secret” by Peter Cavallo

Special release feature: “Secret” by Peter Cavallo

We don’t write a blog feature about every new track or album we release here at Shockwave-Sound, because our poor readers would not be able to keep up with the constant stream of new music tracks and collections being published. For example, over the past 7 days we have released five new albums, with about 10-12 tracks on each – these are now all available as individual tracks in our track catalogue, and as CD-collections / albums in our “Collections” area.

However, once in a while we release something that we feel is a bit special and deserves a closer look, and a little bit of a “splash”. Our very latest, the album Secret by Peter Cavallo, is such a case.

“Secret” is an album of 12 astonishingly beautiful, haunting, delicate and considered pieces in neo-classical or classic film soundtrack style. Made completely without any electric or electronic sounds, this is an album of timeless music that will go just as well in a film 50 years from today, as it does today – and indeed would have done 50 years ago.

I strongly recommend you listen to these amazing Individual Tracks by Peter Cavallo as well as this album release titled “Secret“.

Having listened over and over to this music over the past few days, I felt the need to get hold of composer Peter Cavallo and find out a little bit more about his background, and the background and story behind this amazing music. So I decided to make a little bit of an interview, and here goes:

Peter Cavallo in his studio

Your music is very accomplished, very detailed, you are clearly not a beginner. Have you released any album or soundtracks previously?

“You are right, I am not a beginner. I am a self taught musician that simply loves to write music and it has been that way from the first instrument I picked up. I have two previous albums to my credit. The first, which was an instrumental solo Piano album was released on audio cassette (remember those?). It won an award and didn’t do too bad in sales. The second was a contemporary instrumental album featuring some friends of mine who were working as session musicians at the time. Again this was a audio cassette only release and was a major flop  as it was released at the start of Australia’s recession period. Not a good time to release a new album, but I did manage to pick up another award, which I think was because I was the only idiot to release an album at that time 🙂 I am yet to do a film soundtrack, but I have written music for television which was quite easy to get into as I was working as a Television producer for a few years and just used my own music in the show. If there are any directors reading this… well, you know the rest.”

The music on “Secret” seems very deliberate, very thought-through and with attention to detail. How long did it take you to put together this work? I’m guessing it wasn’t done in a week…

The selection of tracks on Secret were written over a period of one year, in between all the other music I wrote. All of these tracks were selected as they seem to have a theme that tied them together. It was if the album was writing itself over time. Every time I would sit at the piano, which is my main writing tool, these melodies would flood through and within an hour I would have a finished sketch. While it was still fresh I would put down a piano only track of the entire piece, then sit back and listen to the orchestra in my head. The rest is total organised chaos, a flurry of activity and frustration trying to get sample libraries to emulate what’s going on in the symphony in my head. This is where the time factor comes into it. I spend a lot of hours on a track just getting the sounds to be as authentic as possible. The tracks themselves were composed very quickly but the orchestration takes way longer for two reasons. 1. Samples libraries are like balancing an elephant on a bar stool. 2. I don’t know what I’m doing. Am I happy with the final result? Of course not! But you cannot dedicate your life to one piece of music when there is so much more waiting for you to connect with.

Peter Cavallo at the piano

Are you inspired or influenced by classical music composers, if so which ones, or more by contemporary film soundtrack composers?
I would have to say the composer that has influenced my thirst to write music would be Rachmaninoff. He was one of the most innovative and passionate composers I’ve heard. In the movie soundtrack world it would be Ennio Morricone, Thomas Newman, Max Steiner. Some smaller but very influential composers have been Bill Brown and Steven Gutheinz. I don’t actually listen to much music unless I want to study it and learn from it.

Do you use any live instrument recordings for your productions, or are you just very clever with samples and simulated instruments?
I would love to use live instruments all the time. As good as sample libraries are they are still no match for a real player, full stop. I used a violin player in one of my tracks simply because it wouldn’t work at all with a sample violin library. That track is called ‘In the Tears’. This touches on a very frustrating aspect to my composing. What I hear in my head and what ends up as the finished result is actually a very poor comparison of what it could be. Because what I hear has no boundaries and I am frustrated by my lack of ability and knowledge of music to fully be able to articulate precisely in a score of how it should be performed.This is why over the last 8 months I have been studying music with a Canadian Composer called Alain Mayrand who is slowly teaching me that music has colour, emotion and rules. Music paints pictures in the mind of every listener – the challenge is to get every listener to see the same thing when they hear your music. Music has emotions – chords, harmony, pitch and rhythm. When used with purpose can make you cry and laugh in the same measure. Rules can be broken but with correct knowledge. I can say with certainty that one day I will compose with true clarity and purpose and hopefully with real players.

If you could go back in time and compose the musical score for a any major movie from history, which movie would you have liked to compose for?
I love movies and a great score is hard to find these days. Recently I read an article about Max Steiner and how he was given a project to do with a very limited budget and no one was sure it was even going to work as a film. The film was ‘King Kong’. Max Steiner composed a wonderful score but his budget was so small he could only afford a hand full of musicians. When they recorded the tracks he had musicians and himself changing instruments in mid score. He was one of the first innovators in film music and that really inspires me. Not that I could do anything like Max Steiner’s work but I would have loved to give King Kong a go. No sample libraries just the raw material that makes music real and live!

Can you tell us a few words about yourself and your part of the world, that has nothing to do with music or your compositions? 

I live in Canberra, Australia. Canberra is the Capital of Australia, not Sydney as many think it is. Canberra is the smallest of the capital cities in Australia and is where all political decisions are made. It is a like a country town, nice to live and bring up a family and 2 hours drive to the snow (winter) or beach (summer). I have an adventure motorcycle that allows me to escape and go travelling and one day I hope to, with my partner do a world tour on motorcycles. I have hit a kangaroo while riding my motorcycle, which was something I do not wish to try again. We both survived, thankfully, with a story to tell. I have the most wonderful partner who supports me fully in what I am trying to do in music and she is the best part of my life.

Recording orchestral music for Massive Impact Vol. 14

Recording orchestral music for Massive Impact Vol. 14

At Shockwave-Sound.com we recently had the pleasure and honor of releasing the latest volume in our “Massive Impact” series of big, epic music. This album, and some of our others, feature recordings of actual live philharmonic orchestras, playing along with samples and electronics, for a grand, soaring, rich sound.

We thought it would be interesting to set up a talk with composer and arranger Iouri Sazonov (aka Yuri Sazonoff) to find out a little bit about what it takes to carry out a project like that. We spoke with Iouri about working with live orchestras and about the Massive Impact Vol. 14 project in particular.

Iouri Sazonov (aka Yuri Sazonoff) at the studio recording desk

Said Iouri, “I’ve been lucky enough to do a substantial amount of work with
orchestras in the past, as well as contracting orchestras for various
productions, from film and big symphonic productions, to instrumental
albums, recording for artists ranging from jazz, crossover, to pop
music.”

“Recording music with a real orchestra is such a treat… and at the same time, such hard work. Despite the growing number of high quality sampling libraries available to composers these days, the actual sound of a real orchestra is still superior to just using sampled sounds. The articulations coming from a group of real players are so much better pronounced, and even imperfections such as slight tuning problems, very slight timing inaccuracies and such, just make the overall sound more full, interesting and alive.”

So for a project like this, where do you start? 

“The process begins with composing the music, and that is something that goes on over weeks or months. I play with ideas using only MIDI / simulated orchestra sounds at this point, and I will usually come back to an idea or a piece a couple of days later, to see if it’s still good, if it’s worth continuing the work on this piece. When I have a rough concept for a track in place, I will send it to Bjorn (Editor’s note: that’s Bjorn Lynne, manager at Shockwave-Sound.com and executive producer for the project) for approval.

Ok, so a few months later you have a collection of tracks, all done just with MIDI and samples, you then start to think about recording with an orchestra. Can you describe the process from there?

“When I’ve got 10 ready to go MIDI tracks, I will start to talk to a couple of studios I regularly work with, to try to find an available time slot to accommodate my needs.

Careful planning is the key. You can never be too well prepared for an orchestra recording session. Without the utmost care and attention to every little detail in the planning stage, you are risking wasting precious time and money during the recording sessions.

I will usually block-book the studio for whole period of time I need. It’s not very smart to let some other studio clients in for an evening session, just to find out in the morning that your engineer has to do the whole setup of 48, 56 or even more microphones again basically from scratch. Been there, done that!”

How do you make the printed sheets of written music that the players read from?

“As part of the preparation stage, I do score and parts preparations in Sibelius, do few basic stereo stems, click tracks and MIDI files to be imported in ProTools into ready-to-go orchestral setup prepared for the sessions by my engineer. It all takes a considerable amount of time, but needs to be done, and needs to be done well.

I always quantize each part to be recorded live. (Editor’s note: “Quantizing” is the process of “correcting” each musical note to the exact musical time where it should be, rather than just before or just after, as a human would play it). Otherwise, the scoring program of your choice, usually Finale or Sibelius, is not going to recognize all that nonsense from the MIDI file you just imported, and it’s going to look like “mission impossible” for the musicians.

It’s easier to quantize notes in your DAW (Editor’s note: DAW = Digital Audio Workstation) than trying to figure out all the crazy notes produced by un-quantized MIDI files. People who are more inexperienced with notations will sometimes drop unreadable and unplayable scores in front of players, and this will definitely give you a big problem.

Playability, by the way, is another thing to consider. You want your score to be recorded quickly, and to sound good. For that you have to present parts that are playable by musicians. Mistakes in the score will always happen – bit it’s better when they don’t! So I double check, triple check and proof the read full score for any accidental mistakes that can happen just from the slightest wrong move you make with your computer mouse. Mistakes cost time, lots of time, and you can easily get behind schedule.

What would a typical “mistake” be in this setting?

“Let’s say the principle viola player says to the conductor: “There is something funny in bar 27”. You start checking the score and figuring  it out, but by the time you sort it out with the violas, the second violins have also got a question. And just when you’ve fixed everything relating to that problem, you find that the orchestra goes on their hourly union break, and after 15-20 minutes you are still there, losing precious time. I’ve heard a few times that film composers who record with orchestra on regular basis talk about time on the floor as hundreds or thousands dollars per minute. These people are usually very experienced and well prepared for the sessions.”

I’ve seen the players wear headphones that they have over one ear – what do they hear in there?

“When I produce my MIDI tracks at the preparation / composing stage, I usually separate the main groups, so that my engineer can create comfortable sub-mixes for the players to hear in their headphones. Different instrument groups often ask for different sub-mixes. I usually send them along with click tracks (Editors note: “Click track” is a simple audio track with just the ticking rhythm, helping the players to stay on time during the recording) and MIDI files with tempo and bar structure to my engineer. Hopefully he’s got some time to prepare the Pro Tools sessions before the actual recording. This will save us time while recording, and will let us have breaks when the orchestra players have their break.”

We’ve been talking quite generally, but can you tell us a bit about the actual recording sessions for our “Massive Impact Vol. 14” album?

“For this projected I decided to do the recording by instrumental groups – first strings and then on separate session I do the brasses. It’s quicker this way and makes everything more efficient. My engineer and his assistants usually give me a little break and build the setup the night before, if possible of course.

We’ve been experimenting lately with different sitting positions of groups within strings orchestra and positioning of the Decca Tree (Editor’s note: A “Decca Tree” is a group of microphones positioned in a particular way, often used with orchestra recordings) along with multiple room mics. Since I knew that prior to the sessions, I adjusted my writing accordingly — again, it’s back to how important the preparation is!”

“The string sessions went very smoothly this time, and I had enough time to do all the tracks and then go back to fix/improve couple of things I’d made notes of, something I try to do if time permits. I make notes on my paper copy of full score, the good old way with a pencil. You circle the problem instrument at the problem bar, write T2- or T3+ for take number, and so on. This way you are able to do it as you go along with the performance. I’ve seen lately many guys trying to make notes on the fly with their iPad, but the thing is that even if you are really fast at typing, the music goes faster and you’re missing lots of things to make note of.

Anyway, for my brass session, this time I hired 3 French Horns, a Tenor Trombone and a Trumpet. Even though it’s just 5 persons on the floor, we record them on all close and all ambient microphones (19 in totals) to capture the room ambiance. The brass recording went smoothly, and again because time permits it, I asked them to overdub (Editors note: “Overdub” is the process of making another recording of the same thing and mixing/overlaying that with the first recording) a few times, to do the higher range of the lower parts, and so on. After it was all done, we stayed at the studio for some time to transfer all sessions to a hard drive which I then take home with me.”

At this point you’ve let the players go home?

“Yes, now it’s just me in the studio, tidying up, organizing files and copying things to take home with me, to my home studio where I edit the live recording, stack up the strings and brass takes, and make it all nice and polished. These are the “Basic mixes” that I send to Bjorn for his final approval.”

What about the singing? In these tracks we can hear both huge choirs and a soaring soprano voice?

“Some time before I went to do the orchestra recording, I sent demo tracks to a great soprano vocalist I know – to sweeten up the sampled choirs and to do some solos on several tracks. It makes a big difference, again bringing out the articulations and making it sound more believable. I take some time to do all edits including soprano takes, and after it’s all done there is one final step to do, which is the final mixes, including the various “alternative mixes” such as No Choir version, No Percussion version, and so on.”

– – –

Thanks for talking to us Yuri, I think everybody will agree that the result is really great and you can hear more of Yuri’s work for Shockwave-Sound.com by following this link to all of Yuri’s tracks here on our site.

Game music composer Allister Brimble joins composer team at Shockwave-Sound.com

Game music composer Allister Brimble joins composer team at Shockwave-Sound.com

We are happy to announce that we’ve signed up a new composer to our little “stock music team” here at Shockwave-Sound.com and that is none other than video game music composer extraordinaire, Allister Brimble.

Probably beaten only by American video game composer Tommy Tallarico, Allister has composed the music for a larger number of published video games than anybody else. He started out writing music in the early 1990’s for some of the most famous and most loved Amiga games from Team17 Software, including Superfrog, Full Contact, Alien Breed and many more. He has since gone on to compose for hundreds of video games, so he knows what it takes to make music that sounds great in a game setting!

Bjorn Lynne (left), Allister Brimble (right), 2015

Shockwave-Sound.com owner/manager Bjorn Lynne met up with Allister at a recent industry event in Peterborough UK where they were able to discuss music and life over some food and drink, and a few weeks later, we are happy to have the first batch of 4 tracks composed by Allister exclusively for the Shockwave-Sound.com music catalogue. Here they are:

We welcome Allister to our team and look forward to having more of his music up for licensing over the coming months and years.

Come with us and explore the Music of France!

Come with us and explore the Music of France!

We’ve had so much fun over the past several months, composing, recording and producing not one, but two full albums of French and France / Paris inspired music. With “The Music of France, Vol. 1” featuring 13 original music tracks and “The Music of France, Vol. 2” featuring no less than 22 tracks of various French folk / traditional French music as well as some original compositions in a very cheeky French style, these music collections can only be described as “goldmines” for anybody working on a media project that needs that “sound of France”.

For “The Music of France, Vol. 1” we got in touch with Aleksander Grochocki and Patryk Walczak, or just Pat & Olo, who went to work and between them composed and delivered 13 delightful French tracks, ranging from the classical “musette” style, to passionate waltzes and foot-tapping Hot Club of France style gypsy jazz tracks. All original compositions, all recorded live in studio with Pat on accordeon, and with Aleksander on guitars, bass, percussion and “various”. It’s safe to say that we are très satisfaits with the results. Just take a listen to that album and you’ll be whisked off to Paris in a heartbeat.

For “The Music of France, Vol. 2” there was no better guy to go to, than Jerome Lamasset. Already a collaborator and contributor here at Shockwave-Sound since all the way back in 2000, Jerome is an experienced composer, arranger and eager student of French music. He took a slightly different approach to the project, opting instead to go for more traditional, well known French melodies. Perhaps more than most countries, France has a wonderful culture of traditional music, French nursery rhymes and folk songs for which the original composer is unknown. These famous pieces of French musical culture have been passed down from generation to generation, including such timeless tunes as Alouette, Le Temps de Cerises and many others. Jerome rearranged and re-recorded these tracks in creative ways and created sometimes cheeky, humorous or just lighthearted versions.

Jerome also composed additional tracks himself, his own original compositions with a very quintessentially French sound. Again, these are quite tongue-in-cheek. The track Allongèe Pres de Toi was actually composed as a replacement for the very famous French track Frou Frou, which is under copyright and cannot be used as stock music. So Jerome went with his own composition instead, which we happen to think is much better.

All in all, on these two albums, we have published 35 tracks of French music tracks this week, and we can’t help but be proud of these releases. Here are just some ideas for projects in which this music will work wonders:

  • Travel videos and travel shows with France / Paris destinations.
  • Historical and cultural TV programs, websites or YouTube films.
  • Apps and games that seek either a French, or a cheeky / humorous sound.
  • Comedies and candid camera type productions.
  • Retro 1960’s and 1970’s productions, perhaps with a “French cinema” approach.
  • Fairground / Fun Fair, and Circus productions.

And more!

Remember — as with all our CD-collections / albums, all tracks are also available individually. You don’t need to license the whole album if you only need one track. If you just want one track, simply search for the track title in the “Quick search” box on our site, and the track will come up in search results.

Enjoy… Et bonne journĂ©e!