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## Chunk 1

# The Professional Composer's Setup and Workflow: Insights from Blake Neely

## Studio Configuration and Computer Setup

### Multi-Computer Architecture
Blake Neely uses a sophisticated three-computer setup for his professional composition workflow:

**Computer 1 (Main Sequencer - Logic)**
- Primary composition workstation
- Handles MIDI sequencing and core composition
- Receives audio back from the sample library computer

**Computer 2 (Sample Libraries - Vienna Ensemble Pro)**
- Dedicated to running sample libraries
- Connected via Audio over LAN and MIDI over LAN
- Runs Vienna Ensemble Pro with approximately 800 samples
- Sends 64 channels of audio back to the main sequencer

**Computer 3 (Pro Tools)**
- Functions as a "glorified tape machine"
- Handles video playback to reduce processing load on main sequencer
- Used for printing stems and final mixes
- Allows working on different sections without reloading video

### Cross-Computer Communication
```
COMMUNICATION FLOW:
MIDI from Logic → Vienna Ensemble Pro → Audio over LAN back to Logic → 
Output via MADI to Pro Tools → Split into stems
```

> "What's great is that with MIDI machine control, I can go frame by frame, and it's just following the sequence."

| Component | Connection Type | Purpose |
|-----------|----------------|---------|
| Logic to Vienna | MIDI over LAN | Send performance data |
| Vienna to Logic | Audio over LAN (64 channels) | Return audio from samples |
| Logic to Pro Tools | MADI (64 channels) | Send mixed audio for stem printing |
| Computers Sync | Network session/MIDI timecode | Keep all machines in perfect sync |

### Control Surface Enhancements
- **Two iPads running TouchOSC and Osculator**:
  1. First iPad: Customized shortcuts for common tasks (octave up/down, time stretching)
  2. Second iPad: Visual key switch interface for articulation changes
- **DAW Remote** program for transport control of Pro Tools
- **Share Mouse** software to use one keyboard/mouse across multiple computers

IN PRACTICE: CROSSFADING BETWEEN COMPUTERS
1. Connect all computers using Share Mouse software
2. Set up network session between Logic and Pro Tools
3. Configure MIDI timecode reader/generator in peripherals
4. Moving between computers becomes seamless with a single mouse

## Sample Libraries and Sound Design Philosophy

### Library Usage and Customization
Blake uses a combination of commercial and custom sample libraries, with emphasis on:

1. Layering multiple libraries
2. Extensive customization of commercial sounds
3. Balancing between new and old libraries

> "They sound great out of the box. They sound better when you dive in and do mic placements and panning and EQ."

| Sample Library Approach | Advantage | Implementation |
|------------------------|-----------|----------------|
| Layering Different Libraries | Creates unique sound signature | Requires consistent reverb across libraries |
| Using Older Libraries | Lighter on RAM, less commonly used | EXS24 and older libraries still used regularly |
| Custom Sampling | Creates distinctive sounds | Records unique instruments, manipulates recordings |

### Sound Design Principles
- **Balancing Existing and Custom**: Using commercial libraries but extensively customizing
- **Identifying Overused Sounds**: Being aware of commonly used patches
- **Quick Custom Sampling**: Recording phrases that can be reused throughout a project
- **Experimenting With Effects**: Creating unique sounds through accidents and experimentation

FAQ: SAMPLE LIBRARIES

Q: Do you primarily use commercial sample libraries?
A: Yes, but I extensively customize them. I record my own stuff and tweak commercial libraries to make them my own by adjusting mic placements, panning, and EQ.

Q: How do you handle the different reverb characteristics between libraries?
A: I try to pull off some of their built-in reverb to get closer to the dry signal, then apply my own consistent reverb across everything. This helps tremendously with layering.

Q: Do you still use older sample libraries?
A: Absolutely. I love old libraries because I've learned how to craft them with CC controllers, they're lighter on RAM, and nobody's using them anymore so they sound fresh.

## Compositional Approach and Philosophy

### The Big Idea Concept
Blake emphasizes finding the "big idea" behind any score before beginning composition:

1. Determine what the score needs to accomplish dramatically
2. Consider the overall storytelling needs before individual themes
3. Develop themes that support the big idea

> "You have to have the idea of what the score is going to do first. And that can be, every week when I watch one of these episodes, I still have to have an idea for it or else we're just throwing music at the screen."

### Music Placement and Silence
- Analyze each scene without temp music first
- Determine where music naturally belongs
- Value silence as an important dramatic tool
- Avoid "on the nose" scoring (music that begins exactly when something is said)

### Working with Multiple Shows
Blake manages approximately 3.5 hours of music production per week across multiple television shows by:

1. Using library/existing material where appropriate
2. Creating new themes for new characters
3. Balancing reused material with fresh compositions

> "When I first started doing this, my very first show ever was like every cue, every episode was a brand new thing, until I realized, you know, it's not really fair to the audience to not reuse music, because it makes them know, like, this is the show I'm watching."

## Collaboration and Team Management

### Team Structure
- Three additional composers in the same building
- Identical rig setups across all computers
- Synchronized sample libraries and file structures

> "All of our rigs are identical down to the name on it... everything has to stay exactly the same. If I buy a new sample library, it has to be in the same folder, tree structure, it has to be on the same named drive, because then anything they create, I can open online."

### Division of Work
- Each additional composer works on two shows with Blake
- Blake manages the shows and assigns writing tasks
- Consistent file structures ensure seamless sharing

### Director Communication
- Focus on discussing drama, not musical technicalities
- Get directors to express their desires in emotional terms
- Avoid technical music conversations with directors

> "Number one thing with a director: Get them to talk to you like they talk to the actors on the scene. Don't let them talk about instruments they like or don't like... Describe to me how you want the scene to feel. What you want out of the scene."

## Industry Insights and Career Development

### Entry Paths into Film/TV Composing
Blake identified several common paths into the industry:

1. Assisting an established composer
2. Orchestration work
3. Having a mentor pass along projects
4. Direct outreach through social media
5. Independent film/small project work

### Geographic Considerations
When asked about relocating to Los Angeles:

> "The difficult part of that answer is you don't have to be here to do this job, but you have to be here to establish the connections and take the meeting."

### Technology Evolution
The industry has changed significantly since Blake started:

- Digital platforms have created more opportunities for discovery
- Remote collaboration is now possible
- Social media provides direct access to filmmakers

### Starting Simple
For beginners intimidated by complex setups:

> "When I started this, it was 2000... My first show I had one computer. I had four sample libraries and some friends that played guitar and violin, and that was how I did it."

## Instructor's Notes on Technology Growth

> "What you need is something that makes a musical sound and something that records it. I know that sounds simplistic, but really you just need your laptop and a few good sounds. There's no reason to go buy 100 sample libraries."

> "At the moment when you see me or Hans or Junkie or any of these, there's a danger of thinking you need that to do this job."

> "You need to ride a three-wheel bike before you get the car. And then at the end of that, the technology starts working."

## Quick Reference: Technical Setup Components

| Component | Purpose | Blake's Configuration |
|-----------|---------|----------------------|
| Main DAW | Primary composition | Logic Pro |
| Sample Host | Sample library hosting | Vienna Ensemble Pro |
| Mixing/Video | Final recording/video playback | Pro Tools |
| Communication | Between computers | MIDI over LAN, Audio over LAN |
| Control Surfaces | Quick access to functions | iPads with TouchOSC |
| Recording Space | Live recording capability | In-house studio for up to 25 players |
| Audio Connection | DAW to DAW | MADI (64 channels) |
| Computer Sharing | Single keyboard/mouse | Share Mouse software |

## Final Summary

Blake Neely's workflow represents an evolved professional setup developed over 15+ years of scoring for film and television. The core principles that emerge from his process include:

1. **Technology serves creativity** - Build your setup gradually based on your needs
2. **Finding the "big idea"** remains essential regardless of project scale
3. **Communication with directors** should focus on storytelling, not technical music terms
4. **Sample libraries** should be customized to create a unique sound
5. **Team collaboration** requires consistent setups and clear organization
6. **Entry into the industry** can come through multiple paths, with networking remaining essential
7. **Start simple** and expand your technology as your career and needs grow

Blake's approach demonstrates that while technological tools are important, they should be developed incrementally to support a strong foundation in composition and storytelling.