Ranger Rob

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COMPOSER

  • Season 1:  52 x 11 minute Episodes
  • Season 2:  28 x 11 minute Episodes

2017 Youth Media Alliance – AWARDS OF EXCELLENCE

BEST PROGRAM, ANIMATION, AGES 3-5:  Nominee!

Services: Synthesizer Sound Design

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Sometimes called “Additional Programming”,  these are bespoke sounds custom created for use within a Composer’s score instead of common “off the shelf” sounds that everyone has access to.

The Monster Modular Synth!!

The individual modules are sourced from all over the world – ranging from established synthesizer companies to one-man operations that design and build each by hand.   The sonic possibilities of the system are endless, such as a building something from a huge trunk of Lego,  and offers a bespoke sonic edge to a composer’s sound.

 

 

Scopes
Scopes
Neil Wiggling some knobs
Neil Wiggling some knobs
Patches

Frontier (Currently in Production)

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Composer:  Andrew Lockington

Technical Wingman,  Music Editor (Netflix and Discovery Versioning),  Additional Synthesizer Programming

  • Season 1:  6 x 50 minute Episodes (2016)
  • Season 2:  6 x 50 minute Episodes (2017)
  • Season 3:  6 x 50 minute Episodes (Currently in Production)

Services: Technical Wingman

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A Technical Wingman is basically “Scotty” in Star Trek.   Tasked with keeping the ship operational when the pressure is on!  Depending on the scope of the production,  it could be a canoe or huge oil tanker…  but hopefully never the Titanic (oh that’s so lame…wah wah!)

Studio Infrastructure

  • integrating/deploying/maintaining studio systems at the hardware and software level
  • sourcing new sounds and plug-ins
  • building writing templates
  • general tech support

Prep

  • preparing pre-records and materials for the score record and eventual mix
  • preparing sessions for an orchestrator
  • preparing parts if no copyist is involved

In Session

  • keeping notes
  • verifying any note inconsistencies in Orchestration vs. Mockup.
  • another ear in the room

Services: Music Editor

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Music Editors work with the Composer and Post-Audio Department of audio-visual mediums

Depending on the type and complexity of a Show or Film,  few or many of the tasks outlined below are part of the Music Editor’s responsibilites:

  • spotting episodes  (working with the Composer and Director to determine where music is required in a program)
  • creating a “temp” soundtrack from pre-existing score before a Composer is hired
  • cataloguing delivered score from the Composer and keeping track of contracted minutes
  • editing the Composer’s pre-existing library according to spotting notes to sound like it was scored (usually for animated programs)
  • preparing click tracks and related Pro Tools sessions for any live recording (i.e.: Orchestra)
  • logging takes at the recording sessions and later comping the best takes
  • outputting screeners for client approvals
  • inserting additional licensed music into a show/film
  • conforming cues to picture changes
  • conforming the full soundtrack for different broadcast markets (versioning)
  • creating cue sheets

Music Editorial is a thankless job.  The work is invisible to the listener if done properly.   Basically,  the Music Editor is a Pro Tools ninja!

Consulting, Lecturing, Panels, Educational

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Neil provides technical consulting services for Composers as well as meeting up with emerging composers to ‘talk shop’ about the business and how to dive in!

Neil is also involved with:

Screen Composers Guild of Canada

  • Member:   2005 to Present
  • Mentorship Program:  Mentor,  2015 to Present
  • Board of Directors:   2016 to Present
  • Seminar Host:   Synthesis for Film & Television

 

Fanshawe College Music Industry Arts

  • Program Advisory Committee:  Member
  • MIA Audio Post Production
    • Guest Lecturer 2017
    • Guest Lecturer 2016
    • Guest Lecturer 2015
    • Guest Lecturer 2011
    • Guest Lecturer 2010
    • Guest Lecturer 2006

 

Centennial College Story Arts Centre

  • Part-time Faculty
    • Digital Audio Music Production with Pro Tools (Fall 2016)
    • Digital Audio Music Production with Pro Tools (Fall 2017)
    • Digital Audio Music Production with Pro Tools (Winter 2018)
    • MIDI,  Programming and Synthesis (Winter 2018)

Canadian Film Centre

  • Slaight Music Residency:  Technical Round Table Panelist 2017
  • Slaight Music Residency:  Technical Round Table Panelist 2016
  • Slaight Music Residency:  Technical Round Table Panelist 2015
  • Slaight Music Residency:  Technical Round Table Panelist 2014
  • Slaight Music Residency:  Technical Round Table Panelist 2013

Ontario Association of Broadcasters

  • OAB Career Day 2018
  • OAB Career Day 2017
  • Roundtable Co-host at the Independent Producers Table
  • “Career Day provides a forum for soon-to-be graduating broadcasting students to meet with professionals in their field to talk candidly and ask questions in a unique and casual setting. This allows them a level of access to people they would not normally have. The ever popular round-table discussions features hosts from all areas of broadcasting.

Harris Institute for the Arts

  • Guest Lecturer for MIDI Students,  Fall Term 2017
  • Guest Lecturer for MIDI Students,  Winter Term 2017
  • Guest Lecturer for MIDI Students,  Fall Term 2016

Toronto Animation Arts Festival International 

  • 2013 Panelist on Music Underscore

 

 

Toronto Ravel (2016 to Present)

  • Electronically preparing various cues from “The Matrix” for Monthly Study Workshops

 

St. Maximilian Kolbe Catholic High School

  • Guest Speaker for the entire Grade 10 and 11 student body, discussing a career path as a freelancer (2014)

 

US Department of Veteran Affairs

  • Provided general music production and related computer technology one-on-one training to a US veteran residing in Toronto (2005)

How to Change the World

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Composer Lesley Barber

Technical Winging,  Additional Music,  Additional Synthesizer Programming

  • Feature Film Documentary

Percy Jackson: Sea of Monsters

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Composer:  Andrew Lockington

Technical Wingman to Composer & Additional Synthesizer Programming

  • Feature Film

How I Became Invisible

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Composer

  • Theatre

Clunk Puppet Lab, in association with The Old Trout Puppet Workshop, presents “How I Became Invisible” – a surreal puppet performance that unearths life, death, and the memories that linger in-between.

What happens when you disappear from everything you hold dear, the people you remember, the place you call home? What if this happens and you haven’t hit puberty?

Saija, a youthful mind, grapples with deterioration of old age, imprisoned in a world of demented seniors, where grace becomes fear, and beauty is beleaguered by the desperation that comes with forgetting everything life is lived for.

How I Became Invisible is a hauntingly poetic, visual ballet that promises to stretch your heart with all that is beautiful in life.

Sept 22nd – Oct 2nd 2011 at the Vertigo Studio Theatre,  Calgary.

Sanctuary

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Composer:  Andrew Lockington

Music Editor and Score Mixer

  • Season 2:  13 x 45 minute Episodes
  • Season 3:  20 x 45 minute Episodes
  • Season 4:  12 x 45 minute Episodes

Punch Like a Girl

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Music Editor and Additional Music

  • A six-part documentary series on women’s amateur boxing in Canada, following several women on a quest to discover the limits of their physical and emotional strength in the primal world of boxing.

Deschamps Studios

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Machine Room Assistant & Dailies Editor

  • Onetouch, Sony, Careerclick.com, Blockbuster, Mr.Coffee, Rogers, The Bay, Ford, Budweiser, Lifesavers, Geneva Center, Beaver Lumber, Tim Hortons, Hasbro, Publix, Honda, ING Direct, Clairol, Mr.Lube, Gain, Bounce, Chrysler, Tostitos, IKEA, Knorr, American Gas, GM, McCain, The Sims, Buick, Molson, Labatt, Colgate, Walmart, Applejacks, Cloraseptic, Kellogg’s, Campell’s, Gushers, Zellers, McDonalds