Paul Vitolins - Music

Here’s a nice proof of concept to show the commercial music process on something I recently worked on with a talented Montclair director and friend. Below is the story of how I scored, sound designed and mixed the commercial.

Reference

This is the initial edit I was sent. The shots were subject to change, the length of the piece was in question, and the music was a stock piece.

Everything was there to set the stage for inspiration.

Brief

The music brief I was given was: Magical, electronic, ambient, going on an adventure…underwater.

I went computer-less for my first demo and made a track on an OP-1.

Feedback

The feedback was to create a more organic, orchestral version of the track, reminiscent of Phillip Glass…and maybe remove the arpeggiated top line.

New Direction

The director was pleased with the changes, but I wasn’t getting the enthusiasm I was hoping for. So, I tried another approach.

There was a word mentioned in one of our phone calls…”frenetic”, which I tried to emulate with the strings.

Result

They loved the new music direction!

A brand new edit was created that took inspiration from the tempo and melody of the track.

The result of the piece was collaborative, joyful, and rewarding for both myself and the director. Hopefully, it makes the viewer want to go on an adventure themselves.

Podcast Scores

I am writing music for a new podcast in production. It’s called “Leaving the Island” and is about the relocation of the indigenous people of Isle de St. Charles just outside of New Orleans. The tone of the show is decidedly serious, so much of the score reflects that. However, I get to have fun with some Bourbon Street vibes as well.

And how’s this for a unique podcast score brief? To emulate, but not ‘cover’ the featured musical artists of each episode.

So, these pieces were written to reflect the style of Kenny G., Katy Perry, and The Beach Boys, respectively.

Dynamite Doug is about international art thievery and cultural looting. In addition to sounds of espionage, and mystery, the executives wanted a score inspired by rock and roll in 1960’s Cambodia.

You don’t have to tell me twice to turn up the gain on my bass and make a gritty baritone spy theme.

Stationary

Not all of my music is commercial. This is my songwriting moniker, Stationary.

Fell For It is my second EP, written, recorded and mixed by myself, but with lots of contributors like my brother, Eriks and friends, Evelyn and Mallory.

You can take the midwest kid out of the 90’s, but you can’t take the 90’s out of Stationary.