When scoring music to film, emotion is key. It's not much different than music production except that you're

 writing it to a medium. Most film scorers would like you to think that it involves much more than that. There are

 some really good scorers out there, but most are more of an editor than a musician. Some are not musicians at

 all. If you can't write music it's unlikely that you're going to create the best emotional response in an audience.  

 Most often, film scorers edit pre-existing music into their projects from other sources, such as public domain,   borrowing music from other scores or having other musicians write it for them. It costs extra money in hiring 

 musicians, in licensing and extra time, and once again there are too many executives, overseers and writers.

 This is the reason why production of entertainment and advertisement costs so much money now. In the old days

 the music was usually handled by one or two people, as well as for script writers and producers, and quality

 always was abundant. Today there are ten in every department and on every production, and in this case two

 heads are not better than one. Matthew can record any sound or instrument as the emotion of the visual event

 occurs. That is what film-scoring is. That is how you get a meaningful response from an audience. That is how

 you please the crowd.

  "Writing music is the most demanding aspect of post production. It takes many years of experience to be able to

write good music, which takes place before one gets to the editing of music. A music editor may know good

timing and placement, but if there's no musical experience then a motion picture will be only as good as the

          background noise, filling a room with just sounds rather than emotion. ~ Matthew Hirte             

This page is still under construction. To listen to music that has been produced, engineered and performed by Matthew

click here.

To  listen to Matthew's personal music, click here.