Category
Conducting

I had a lot of fun conducting Jeff Morrow’s score at Abbey Road. I’ve known Jeff for years—back when he was working with Chris Beck—so watching his journey from assistant, to additional music, to now composer of a Disney film has been inspiring. I was also super proud to conduct Jordan Seigel’s orchestrations. Jordan has been part of my team for many years, and this was his first big studio film as lead orchestrator As always, it was a pleasure working with my friends Fer…
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Having written shows for the likes of Nas, Kendrick Lamar, Common, Ne-Yo, and Maxwell, it was Tech N9ne's turn to receive the Symphonic Tim Treatment. On May 4th, 2024, at the Midland Theatre, I had the pleasure of conducting my arrangements of over 30 songs with the Kansas City Symphony. Tech is a KC native so it was an honor to bring two Kansas City institutions together.   
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A bunch of projects that I worked on last year have been coming out in recent months. Make sure to follow me on Instagram for updates about all the projects I'm on! Shazam! Fury of the Gods was released on March 17. I conducted and was lead orchestrator for Chris Beck's epic score. It was a lot of music in a short amount of time but I am lucky to have some friends who also orchestrate to help out. Thanks to the crew at Chris's…
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Besides the usual film and television work, I've also had a number of arranging projects come my way this year. A number of them have been for my friend Jules Buckley. The first was a concert in June with the BBC Symphony Orchestra titled "Beyond the Bricks of Brum," celebrating the city of Birmingham. I arranged a few tunes for SANITY and also composed a piece to play with a poem by Casey Bailey. The BBC Symphony Orchestra: Beyond the Bricks of Brum Then a…
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Summer 2022 has been busy! This weekend (September 8!) Cars on the Road will debut on Disney+. This was one of the first projects to kick off the latest batch of new work. Jake Monaco scored this new series from Pixar, and I orchestrated and conducted. Prey also recently released on Hulu. I played a small role in helping with Sarah Schachner's score for this one shortly before we got into work on Cars. We got to make a lot of cool sounds, including some…
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I've put together a few more videos of cues from Maya and the Three to give you the chance to see how it's all put together (and of course showcase our musicians!). The Divine Gate The Greatest Wizard The Moon and the Sun As before, thanks to everyone involved in making these!Composed and Conducted by Tim DaviesThemes by Gustavo Santaolalla Guitars - Nomad Woodwinds - Ashley Jarmack Vocals - Suzanne Waters Violin - Maxwell Karmazyn Orchestrated by Jeremy Levy and Lorenzo CarranoMusic…
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I think a lot of the workshops and courses out there are missing PART 2 where you have to do all of the things I mention in my articles. So let’s just pretend I am going to run my own workshop. This could work standalone, or actually be really cool as an addition to one of the existing ones. 9:00 Meet and greet over oat milk lattes and vegemite on toast.9:30 Review my blog articles about studio conducting.12:30 Lunch (avocado toast followed by more lattes).1:30…
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Ant-man and the Wasp is out! Another unique action score from Christophe Beck for which I served as lead orchestrator and conductor. We recorded the score over a 6 week period at Abbey Road Studio One. While it has become the norm to throw everything at action scores, multiple passes with the orchestra, huge percussion and relentless riffs, Chris' score builds on the unique palette he set up for the first Ant-man movie, with even more pizzicato! While we did record some of the brass and…
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There are a number of differences in how I approach conducting a choir as opposed to how I approach conducting an orchestra in the studio. You usually only get a single session to record the choir for a whole score, so here are some tips to get everything you need. You need to emoteWhile I have said I do minimal gestures and stay out of the way with the orchestra, leading a choir is very different. I have found you get the best results when you…
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Technique99% of what we do is on click track. We are also sight reading. The most important thing is to have a clear downbeat. That is what the players look for when their heads are buried in their stands. I try to do a very clear pattern, a tiny bit ahead of the click (and I mean tiny, not like the concert hall). Never conduct 'along' with the click. It is possible to make them play behind or a little in front by adjusting where…
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