\tOne early afternoon, Amber settles down at the library and opens up her email tab; the top thread reads \u201cReminder: Film Music Draft due tomorrow\u201d. She immediately opens up Pro Tools (audio production software) and delved into her scoring session. As a student film composer, she has been working with audio production softwares such as Logic Pro and Pro Tools for a few years now, producing brilliant music; yet many film composers have been utilizing the audio technology without fully understanding its history and all the endeavors that have gone into creating and continuously perfecting these audio production softwares. When did musicians and engineers conceive of this idea? How did this technology come into existence? Why was this important to the development of the film scoring industry? Moreover, how did this invention influence the way film composers create music today?<\/p>\n\n\n\n
Interestingly, film music (soundtrack) as we know today was primarily performed live at movie theatres up until the 1930s\u2013 the advent of music synchronization to celluloid made it possible for film music to be a part of the viewing experience without the live accompaniment of the instrument ensemble. Since then, composers such as Max Steiner and Alfred Newman have been finessing the narrative power of music by creating impressive scores<\/a>. This process, though, has made the director-composer collaboration a bit cumbersome: the director would either have face-to-face discussions and live experiments with the composer in front of a piano, or fully entrust the composer with the task of creating effective music for his or her film.<\/p>\n\n\n\n