INTERVIEW

Josh Wynter - Composer

Josh Wynter – Answer our questions!

How did your involvement with Horizon come about? I stayed in Bristol for a few years after University and while messing about online I came across some of Paul’s work. I persuaded him to have a coffee with me in Bedminster and we had a meeting where I showed him some of my own work, which ended up with me scoring his short film ‘Maria’, which starred Kessie Bartlett from Channel 4’s Skins. We’ve kept in touch ever since and I was lucky enough to be asked to score Horizon.

What is your process? How do you approach each episode or shot?
Its good to just watch the video through first, without doing anything. You need to get a feel for the architecture of the episode and where the arcs rise and fall. Its usually during that time that you get a feel for what’s going to happen where. Its also a good idea to ask the director what he/she has in mind as sometimes there’s specific ideas that you need to take onboard. The hardest thing for people who write songs and then try to do film music is that you have to remember, its not your gig. You are making someone else’s vision come to life and there’s definitely a different skills set needed for that.

What software/hardware do you use and why? I use Logic pro for music. There’s a ton of other things out there (Pro Tools, Nuendo, Cubase etc), but at the end of the day you can get the same result with any of them once you know what you’re doing. I chose Logic initially because I was a student when I started using computers to make music and it was the best value for money. I just use it as a sequencer nowadays and have a huge range of external software plug-ins for my sounds. I’m a fan of Native Instruments, East West, Spectrasonics and Waves in particular.

What does music/post sound/VFX bring to the episode?
They say that sound is 50% of the film. I can honestly say that in my experience, its true. Watching anything from drama to an advert, without music and a good sound mix, its just not happening.

What have you learnt during the time working on the show? Scoring action, render settings, new sounds? This is the first time I’ve done so much dramatic scoring so I’ve had to use some new software and develop a few new techniques. Its great fun as you basically get to go for that action movie sound that most day-to-day jobs as a composer just don’t allow for. For instance, I recently scored all the music for a South African cooking series - whilst it was fun there’s not really any scope for cracking out the big drums!

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