Technology/Equipment Grant for Individual Artist
Technology/Equipment Grant for Individual Artist
Over the last two and a half years, I composed film scores for various film directors and producers, both highlighting original compositions specifically for the films as well as offering previously produced pieces. I want to further develop these relationships with these particular filmmakers by scoring upcoming film projects that will be completed by autumn of 2015. The Arrowhead Regional Arts Council Technology and Equipment funds will be used to upgrade equipment necessary to complete these film scores including a computer with monitors and the capacity to record and handle large files and other musical equipment.
Erling Ellison: jewelry designer and creator, speech coach and judge, director of Garrison Art Fair; Ken Bloom: Director of Tweed Museum of Art, University of Minnesota-Duluth; Janeen Carey: vocalist, retired Hibbing Community College librarian and information media specialist; Kate Fitzgerald: Program Director North Shore Music Association, writer; Peter Pestalozzi: furniture maker, wood worker; David Beard: Assistant Professor University of Minnesota-Duluth writing studies; Mark King: actor, theater reviewer, musician; Adam Guggemos: graphic designer, art events promoter; Michelle Ronning: jewelry designer and maker; John Gregor: photographer, art educator, community art advocate; Ann Russ: music performer, community song leader, choir director, workshop leader, past director and founder of North Shore Music Association; Tara Makinen: Executive Director of Itasca Orchestra and Strings, musician; Dana Mattice: Development and Communications Director of The Art Institute Duluth, Shannon Sweeney: stage manager for Duluth Playhouse and former production manager for the Minnesota Ballet; Moira Villiard: visual artist and student of arts and communication at University of Wisconsin-Superior.
Adam Guggemos: graphic designer, art events promoter; Michelle Ronning: jewelry designer and maker; Moira Villiard: visual artist and student of arts and communication at University of Wisconsin-Superior; John Gregor: photographer, art educator, community art advocate; Tara Makinen: Executive Director of Itasca Orchestra and Strings, musician; Dana Mattice: Development and Communications Director of The Art Institute Duluth; Janeen Carey: vocalist, retired Hibbing Community College librarian and information media specialist.
Arrowhead Regional Arts Council, Robert DeArmond (218) 722-0952
ACHF Arts Access ACHF Arts Education
My goal is to increase my overall flexibility and capacity regarding film score production so I can take advantage of time sensitive collaborations with filmmakers as they arise, by obtaining technology necessary to actualize my compositions. In addition, I would like to expand my collection of musical pieces that I can share with potential film collaborators for future use, independent of contracted projects. Recording multiple acoustic tracks simultaneously or electronic software instruments create lag time on equipment that can no longer keep up to the task of recording them. I want to eliminate this barrier that holds back the potential of musical ideas presented by film directors and myself and the ability to make them realized for our collaborative efforts. Whether it’s an acoustic drum set, a string section or electronic synth keyboards, I want fewer impediments to what I can accomplish. In order to properly build film compositions I need to track multiple instruments within one piece of music without being stifled by the prospect of losing these large files to computer crashes or other errors. Updating my computer is the first step to ensuring security of files and increased capacity to build these larger compositions. Increasing this capacity improves my ability to respond to the filmmaker's needs and crafting my own artistic vision in a short time frame. The addition of monitors that have a flat frequency response (i.e. no added bass or treble for home use) provides a better palette for sound production of a given project without running into the problem of, for example, too much bass on an instrument discovered after the fact, thus needing to be either reworked or rejected outright for a film project. As collaboration between these filmmakers and myself become more frequent, it is critical to have monitors that accurately represent the sound I am producing.
Actual work released in any form (internet sites, film scores, recorded musical projects).
Other, local or private