Three years ago, a number of good classmates and me boarded a theoretical television adaptation of reputed musical RENT, within the framework of compulsory practical tasks of the Theory and Technique of Audiovisual Programming subject, belonging to Bachelor’s Degree in Audio-Visual Communication. Under the teaching direction of Dr. Sonia Blanco, we developed for a few months not only inherent in matter issues (such as its location on the program schedule and its justification, the choice of the national television broadcaster should release the product, according to target and other variables, or analysis of the program schedule for time bands), but also the production and filming of a 20-25 minutes pilot episode.
Each one of the colleagues involved several tasks, both in development as in production itself. One of the matters that concerned to me was the development of the soundtrack. Given the time constraints (there were many more tasks to develop, as well as other subjects of the degree to overcome), for incidental music I prepared a small compilation of royalty free music. However, it was necessary to work with special involvement two essential moments of this adaptation. On the one hand, the opening theme, and on the other, the musical performance through which was presented the character of Rober (called Roger in the original version) to viewers.
About the opening theme, I built the main melody of the most relevant song of the work, "No day but today", using Steinberg Cubase Elements 7. It was produced working with this software and Adobe Audition CS6. It is a short pop interpretation with some rock and electronic elements, trying to recall the eclectic air of popular music of the 80s (moment at which both the work and adaptation are framed), without forgetting the quality of sound and finishing that current technology provides.
As regards the second song, it is an acoustic performance of the song "One song glory", from the musical itself, created for the scene in which Rober plays a live performance on the stage of a bar. This work is more complicated than it seems, since I assembled six guitar tracks to try to find a professional finish, although in principle what is expected may be a single track to set the interpretation to reality. I also spent some time setting the proper delay effect to stick to the spatiality suggested by the original theme, in addition to providing a personal touch. As a final curiosity, as I could not find a professional vocalist on time, I had to interpret the song myself, even if singing is not among my best skills.
I hope you enjoy them!