Episode 33 - oFRo

When you say scratch, what does a scratch for you often look like? Because I've heard some people say it's...

noodling on a piano or guitar some people it's like a voice memo some people you know could be like a beat or something like that especially in the hip-hop world like what what does a scratch look like for you

for me the scratch is like a little it's like a audio file yeah that is just made for me to remember where i'm going with this finally it's like a sequence of like it's a collection of placeholders that tell me like rhythm groove information and like sort of scale and key information and melodic information to be like, okay, this is what we're trying to, this is the outline of what we're eventually going to end up with.

And so usually when I work with directors, we, between us, we'll have like this scratch that is like an understanding of, Okay, so this is an early version of like what, if you listen to like a scratch of like an old song, maybe something that you've already heard, if you went to the scratch version one of that, it'll like you'll understand, oh, okay, that this, this eventually evolved into this, you know.

But I guess you'd need to, if you're sharing it with like a director, for example, you'd need to build it up at least enough for the director, like an outside person to understand what's going on in your head, right?

Yeah, absolutely.

Absolutely.

But that also kind of changes from director to director.

Like, for example, like when I work with...

Ken, for example, he, because we've been working together for so long, I think like for us, the scratch starts before the audio file.

Like we just get on a sort of one line starting point and then the, it, it only, uh, we develop it in our heads and before we put it on like the computer, it's already quite a well-developed idea in the head.

So when you're saying, like, a well-developed idea, are you thinking in technical terms? Because I know he's a musician as well, on top of being a director.

Are you talking on, like, a technical level, as in, like, this is what, you know, the key is going to be, or this is roughly, like, the tempo range? Or are you talking

more on a...

Or how it's going to connect level.

Like if we did this, if we did this, then it'll connect.

And then

you're like, okay, but how do we do this? How do we do? Oh, we can do this, this, this to get this and this, this, this to get this.

And then we can, that'll, we put it together.

So it becomes this.

So the idea kind of forms in our head.

So now when we visit the music element of it, um, We have the option of running this idea through different styles of music before we decide... okay, this music and this idea matches and then we go.

So, but that's like just, that's like the liberty I take with Ken also because like we really connect on a deep level when it comes to music.

But it's not always the same when you work with like some other people, like you give them a more finished idea so they can kind of, yeah, also get it.

Yeah.