Tom Holkenborg (Junkie XL): The Madness of Modern Film Scoring
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- เผยแพร่เมื่อ 6 พ.ค. 2024
- In this clip, composer and DJ Tom Holkenborg (Junkie XL) discusses how technology has caused vast changes to the landscape of film scoring in the last 10 years.
Original Video Here: • Tom Holkenborg (Junkie...
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![Mixing Masterclass: Film Score Mixing & Composing with Tom Holkenborg (aka Junkie XL) [MixCon 2021]](/img/n.gif)
Dang Rick, you are becoming an interviewing legend in the film score world as well. Please keep it going!
I could not take my eyes off those modular synths...total trance!
totally agree!
Hey Rick. His appreciation of the art of learning a instrument. I recognize this feeling. 3 years ago I started learning the bass and now Everytime I see or hear an experience bass player my jaw drops. Such skill and making it look so easy. Leland sklar for instance. Just amazing.
The ANALOG ROOM... Luv it 😁👍🏻👍🏻
Tom's own channel had videos of him teaching modular synthesis using that large wall behind him
I'm glad you included your interlude explaining Rick Beato 2. I didn't realize that, so now I'm subscribed. I enjoy watching your facial expressions, Rick, as you interview. I cannot help in notice you seem a little giddy interviewing other such talented musicians, in this case, a film composer. It's a joy to watch.
I like what Tom said beginning at 5:04. I once spent four hours programming an 11-second string part including violins, violas, cello and bass (with a bit of brass) - but I got it right:)
Tom is a wonderful person! Respect Brilliant musician and programmer
Dutch legend!
Helemaal mee eens 😁🇳🇱
Dat klopt!!
He isch schow cool... :-)
@@rolands50 ferry mutsj
I've known him since playing SSX 3 as a kid, since that had his Fischerspooner - Emerge remix on it, never even realized he's dutch too!
Enjoyed this fascinating interview, and that studio looks amazing. Spaceship vibes 🌟⭐️🌟
Man, another interview with Tom would be awesome. They have done a lot more recently and moved studios.
Big time 👍
Had no idea that Junkie XL (who’s been making records for like 30 years) does film scoring. Super interesting
Love hearing them both enthusing about favourite music and players.
In Tom's studio, every day is New Year's Eve.
I want to visit Tom's studio too.
I'm pretty sure Tom moved back to Holland and this is his old studio in LA that no longer exists.
@@Ishai1 It was a joke on all that analog equipment :)
(Not a mean one, though, I love this guy)
I bet he's got plenty of Christmas lights in his current studio too :)
This was so fascinating a great interview.
Fantastic interview. More please !
Amazing content! Thank you so much!
Awesome interview. Tom is great!
This could be a 5 hours talk. Tom is such a lovely music and tech nerd
In case you didn't know, this is from the same interview as Tom Holkenborg (Junkie XL) The Future of FILM SCORING, a Rick Beato video from back in 2019
I love all of this content and this interview is great! You're killin' it! Impressive to see so much growth and content coming out of you! Side note, maybe turn the auto-focus off on the cam settings to the sensor isn't freaking out when people move their hands, etc. No criticism at all! Just a thought!
These interviews you're landing are insane rick
Sometimes I really do feel good being Dutch. Tom is a humble hero. Driven by the force of music. Says cheese on every note. Gouda! (Gold)
Does gouda mean gold
@@LearnCompositionOnline Gouda is cheese. Tomo is gold.
Great interview, Rick.
Cool. Something different this time. Still remember when my friend got Saturday Teenage Kick demo from a radio station and played it to us. (We all listened to Prodigy so we thought it was pretty awesome.)
Another reason to record in sections and deliver cues in multiple stems is because the score can often be orchestrated, recorded (and indeed mixed) BEFORE the picture is locked. Meaning you need the control/flexibility to re-edit the delivered cues to the final picture, later on. This is critical.
Plus it saves thousands of $$$$ in the long run. Imagine contracting an entire orchestra AGAIN for fixes, plus recording studio, crew etc.
Also you can arrange reprises that way to pick up a theme after the fact.
God I'm envious of Holkenborgs gear walls. Thats probably the biggest moog modular setup I've ever seen, and thats not even touching on the utter behemoth on the wall behind Rick.
And he sold a lot if his gear recently;)
I was waiting for him to say Bladerunner 👏👏👏 That is just the best marriage of score and film IMO. Sounds both futuristic obviously but also timeless and has me asking ‘how’d he do that’ with 1981/2 era technology. Amazing.
I don’t wholly agree, after hearing it recently. To me it sounds like a gimmicky film noir score with saxophone and synths. The main theme though and the intro scene is Classic. But a lot of awkward music.
@@phadde what do you mean by gimmicky? the choice of sounds?
@@wsplatinum no, the jazz feel to a smokey detective, basically the same approach as Naked Gun.
Tom's incredible as are both his studios. Looking at those 2 incredible walls of tasty gear in his LA place though, I can't help thinking that it's in big-time earthquake country. Sure hope it's all beefed up for the shakes.
5:13 "There's ten different ways to play a staccato note". It's so true. As astounding as string libraries are these days, it just cannot compare to real players because of the seemingly endless ways they can play a note. It would fill a hard drive alone to capture all the expressions. I go as far as legato, staccato, tremolo and pizzicato and I adjust velocity afterwards. I'd never rate hans Zimmer as a composer of melody like say, John Williams but he's brought this whole new production sound of layering strings with synthesis that's the way forward for game and film/tv composers. If you haven't got an orchestra in your back pocket, then go the Zimmer way.
Great videos Rick!
Mode film scoring interviews please!!
Subscribed to both channels! HEJ FRÅN SVERIGE!!!!! HELLO FROM SWEDEN!
Great interview!👍🙏
Wishing Tom every success with his violin! Good basic technique is key.
I've often wondered how the physical separation of orchestra sections is reconciled with the need for contiguity in fast runs etc.. Interesting!
I am compiling an Electric Violin Curriculum, and wrestling with the theory section, you know if it's non classical specific (which is what I was thinking of) then there's no point in stuffing the melodic and harmonic minor scales down people's throats and that there's only 1 flavor of major, ie Ionian, there's a whole bunch of issues whereby such a curriculum differs from classical training ideally, and I'd love to have the opportunity to pick Professor Beatto's massive brain (check out the sycophancy here!) on the theory aspect teaching people to become SV gods and goddesses..
This is such a cool channel. Thank you for your wonderful work!
🎶🌟👍
Looks like you're on the bridge of the Enterprise!
More cowbell! We need a LOT more cowbell! 😁
Great interview Rick. More film composers. Interview some of the game composers next.
If you've never heard it, you should listent to Tom's band Nerve, especially the Blood & Gold album.
Rick, can you try and do an extended interview with John Williams on the issue to get his opinion on traditional methods of scoring? Would love to see it!
Oh yeah, this is great, more film music would be cool!
this is his old studio in LA isnt it? how old is the interview actually?
loved it! really loved it
Fascinating.
Love to Tom ! When Tom mentioned that the orchestra had to play their parts separate for mixing purposes I wondered if there isn’t an AI application that is able to split the instruments perfectly while allowing the orchestra to play together. With good mic setups this should be possible no?
Fascinating
Tom is the goat!! 🐐
Look at all the stuff😮.
There are an astronomical amount of knobs back there. I’m intimidated just looking at that.
Would really love to see Rick interviewing Zimmer next time
I cannot take my eyes off that modular synth
It's the stuff dreams are made of
He put out a video of him playing it in real time.
which one? haha
Just subbed!
Vangelis, chariots of the Gods. r.i.p.
I don't know if this is the place.. but you should interview Dave Abbruzzese. Just to complete the grunge legends 😄🙌🙌🙌
Great interview, but if you get a chance an interview with Emily Bear on film scoring for films.
Wow I thought Tom was downgrading his hardware arsenal but looks like he's expanding it :)
This is his old LA studio. He has a new downsized studio in Amsterdam.
I can understand the director wanting control. I know I'm not young but I have do say: if it was good enough for Steven Spielberg and John Williams to produce what they have, are they really making a better product? Not really fair but it is how I feel.
Wow!
Wow still can’t believe he sold all that gear a few years ago!
He is a busy man.
i remember ssx blur soundtrack was by this guy
Tom, from the Netherlands 🇳🇱.
I remember that day when half of his studio stuff was stolen in The Netherlands 😢
Nice wallpaper
Junkie XL Legendary!!!
Tom's studio looks like a filmset of Stark The Next generation.
I'd like to hear more about the politics of scoring. Projects go through several layers of approvals and everyone has to get their 3 squirts of territorial piss on it to feel like they are a part of the process. The video edit can change, an executive can not like particular tracks... you can always be chasing revision. How is that handled... contractually, time management, creatively?
Is there a particular Zimmer score that started this?
CUBASE !!!
Rick: So what's your favorite score
Tom: So my second favorite keyboard playing would be.... 😆
Hey man, maybe it's time to have Tom Back.
We actually played many of the same stages and festivals as Tom. A really nice and talented guy! And now I understand why the last 5 years so many films are mixed so poorly! That the music is ear shatteringly loud and the dialogue hardly can be heard. It’s probably the director’s vision (hearing). And it’s annoying as hell to sit and watch a movie and not hear dialogue and squint from the orchestral or SFX onslaught.
Agree to your point 150%. One of the main culprits ist Hans Zimmerman.....
@@sidalientv Schon Wieder?!
@@CallousCoder Ja.
Film mixing is just insane...
Come on Rick, this is OLD OLD OLD!!!
"The way that Vangelis used music against what happens in the picture was very groundbreaking." So what does Junkie mean by that? Anyone care to elaborate? Thank you.
Is he on Furiosa as well? Please!
Yup
Remember when he first started doing soundtracks and I was like "the guy who did that horrible Elvis dance remix?" Now love his film work
The best film score I saw was Scarface. Highlander was pretty good too.
Looks like a space ship 😊
I thought that was Kane in the thumbnail! 😂
The only soundtrack of his I’ve listened to is The Dark Tower, and while I hate the movie for being such a horrible adaptation of Stephen King’s masterpiece that spans 8 books, I still really enjoyed the soundtrack
Ilaiyaraja should be checked out by you lot. The greatest pen and paper composer imo
The Untouchables soundtrack and score....
Does this guy make music or control Apollo 13 with that gear
Holy shit!
Looks like a mad scientist's lab
Jerry Goldsmith was doing mock ups long before Zimmer lol
lol i was going with bladerunner two minutes before he got to say bladerunner :)
What is going on in the background? Is that stuff functional? 😮
Just gonna slide this in here, unrelated: Yuja Wang interview?
Whoa, I remember, back in the day the committee - it was in Eastern Europe - literally laughed at me during my music academy entrance exam when I presented a medley of my Philip Glass-esque pieces as "film score". Like an honest laugh. And it wasn't THAT long ago. Jesus, it was. Anyway, the idea of getting away with a film score without John Williams-style leitmotifs, or melody as such, or ANY substance to be honest seemed funny here. I guess right now everybody's at least a bit fed up with all the empty arpeggios and stuff again, everywhere, but anyway...things, thank God, always change.
Serious question: why, in studios filled to the brim with very expensive synths, belonging to people who obviously have the money, am I seeing cheap and low end studio monitors?
doubt you’ll see this. idk if you had any relationship to him but i’m sure at the very least you know him…would love to hear your take, as someone in the industry, on the legacy of the great steve albini. whether we as individuals know it or not his work has impacted everyone in music. if you’re willing and able i would love to hear you’re thoughts. rest in peace steve.
I don't doubt he respects the guy, but their general view of recordings and sound is different. Rick likes it polished, Andy Wallaces mix of Nevermind for example, Steve liked it raw and he never liked how Nevermind was mixed, he preferred the Butch Vigs Devonshire mixes. And Rick was never that much into the underground styles of rock Steve was doing. Nirvana is probably their only connecting point, but from totally different perspectives. I would like if he did a tribute, but I doubt he will do it.
Tom lives on the set of 1970s science fiction film.
I....want...that...synth...rack!
it’s important to precise that they are talking about music score for blockbusters that why directors can so much control on the music files. This can explain why block busters music score are lacking of uniqueness. Business wise.
Mental❤
Does he need to buy carbon offsets for that room?
All your content is good - even if stuff like this and Kip Winger could've been the usual 2-3 hours long - so why 2 channels? Put it all on the main channel and if folks don't want to watch some stuff that's on them. There is no such thing as "bad" Rick Beato content. Bring it all on.
The issue is that people are using the sample libraries too much. Playing a cue on the piano prevents the director from getting used to sampled sounds and it will train their ears to hear a reduced version on the piano and wonder what it will sound like in the recording session. From what I hear....the musicians HATE being separated from each other when in recording sessions. They see it as a few things: 1. the composer is trying to get the players to do things that they can't replicate from the samples because they are human and not a computer, 2. they can't orchestrate or control the orchestra so they divide them up with walls or record them on separate days and use faders to replicate that orchestras can do ANYTHING
Isn't this his old studio didn't think he had that modular wall anymore ..?
Please tell me there is more than just 11 minutes!?!? 🙏
In a slightly odd off topic item... Weirdly enough, if you focus in on the face (ignoring the hair, or lack), Tom Holkenborg looks a bit like F1 driver Nico Hulkenberg. With the extra twist that the family names are so similar, but not the same, so there isn't even the question of "oh, are those guys related, then?". (Seriously, for people who don't know who I'm talking about, look up a photo of the guy.)
Freaky, man.
That aside... good lord, this guy is just The Modular King, isn't he?
Hahaha…., they don’t look anything alike! Do you really think they do?
It’s so funny how people can see so many different things in just one person and depending on where your focus lies you think he looks like Nico Hulkenberg while I think he looks like Adrian Newey (not really, but you know what I mean). 😂
Nah, he looks like Ariana Grande. That is: if you focus on the sexy gear :).
You're right,lots of Germans,who went living in the Netherlands, changed their family name,to a more Dutch sounding name.
Nico Hulkenberg Gomes from Emmerich,Germany,close to the Dutch border.
Said the mics were incorrectly placed. Too much reverb Tom's voice.
❤😊😊
this room needs more knobs
Harry Potter ❤️
My degree is from Berklee in film scoring. I scored two films for local people and they were such dicks and divas about it, they refused to pay anything on top of it. So I said fuck this. Just a dumb state of the art right now.
serious question- were you promised payment originally, or was it already known it was going to be an unpaid job.