Volume’s Dan Miller, working closely with composer Marty Beller, produced the haunting, suspense driven score that is the backbone for Fox’s new serial – ‘Gracepoint.’ Check back here for an in-depth interview about the the scoring process and his involvement with the post production.
Watch Full Episodes Here
Magical. Whimsical. Uplifting. These are all words to describe the new score that gives the Stanford Children’s Health campaign so much warmth and nostalgia.
It’s always a challenge to create three completely unique tracks that can also work together as a campaign. Volume’s David Della Santa worked closely with several different composers to find the perfect sound that the Office agency and Stanford clients were looking for. The result received accolades in the industry.
How do you make household appliances perform Walking on Sunshine by Katrina and the Waves? Cutwater SF commissioned us to do just that for their new Sunrun campaign — Sound of Solar.
Two spots make a campaign, that’s what we say. The same team for ‘Barcelona’ put together this spot for Microsoft’s Cloud campaign. Very strong visuals give the Celler Doors track ‘Hallow’ room to shine. Volume music+sound supervised the track for this spot.
Agency: Young & Rubicam SF
Editor: Doug Walker
Director: Erich Joiner
Volume music supervised this beautiful track, Steady by Rich Girls, for Microsoft’s new Barcelona spot. Young & Rubicam SF was looking for a haunting and powerful track to complete the vibe . Volume providing the perfect piece from one of our favorite San Franciscan artists, Rich Girls. Doug Walker’s, as usual, amazing editing and strong direction from Erich Joiner make this a piece we are very happy and proud of – Check it out.
You can find this song and other great tracks by Rich Girl here.
They Might Be Giants will be performing one of only two dates this year at the USA Science & Engineering Festival in DC on April 26th. Volume’s Dan Miller is the long-standing guitarist for the band. Come on down, say hello, and get your science on.
Introducing this winter’s featured composer, Jeff Dodson.
Jeff paints with sound. His work blurs the line between sound design and composition. Equally comfortable scoring the sonic identity for Showtime, or designing the sound score for feature films, Jeff’s atomic level of detail produces music and sound that is recognized throughout the industry for it’s beauty and intensity.
Check out Jeff’s artist profile page.
Volume licensing scored this video for Salesforce/Spotify
I’ve always loved Page and this new concert is a big reminder of why. Many guitarists as they get older get super tweaky with their sound and gear. I suppose that years of too much money and time makes them buy a silly amount of gear and equipment. As a result, their tone today is a shadow of what was great about them in the past. Their playing may be just as great, but I find the ‘slick’ tone to be not as interesting by half.
Page is a glorious exception. Les Paul – Orange Amp (probably some other amps off camera) – done! The tone is just as aggressive and gorgeous as it was in the early days. His playing is just as ragged and awesome as it was 30 years ago. The result is that the band sounds fresh and engaging. Page is just as magnetic to watch and hear as he always was. I’m not really a classic rock guy, but man – that guy is awesome!
Our own Dan Miller worked on the score to this film. A highlight for him was the call to ‘overplay’ on the scene in the shopping mall. A lifetime of performing on the Sam Ash floor finally paid off. This is a great film with a steller perfomance by Sean Penn. David Byrne and Will Oldham did a terrific job on the music and recording engineer Pat Dillett did his usual amazing work.