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Music from the feature film “Standing Firm” by Kyle Prohaska
All Music Copyright © 2010 Jurgen Beck – ASCAP
Music from the feature film “The Penny” by Nathan Webster
All Music Copyright © 2010 Jurgen Beck – ASCAP
Music from the short film “Vagabond’s Vale” by Travis Olson
All Music Copyright © 2011 Jurgen Beck – ASCAP
Music from the short film “Charismata” by Joni Adahl
All Music Copyright © 2011 Jurgen Beck – ASCAP
Music from the short film “Worth Saving” by Hannah Victoria
All Music Copyright © 2011 Jurgen Beck – ASCAP
Music from the short film “The Save” by Jean-Marc Le Deux
All Music Copyright © 2011 Jurgen Beck – ASCAP
Music score for the film “My Name Is Paul” by Trey Ore
All Music Copyright © 2011 Jurgen Beck – ASCAP
Music from the TV pilot “Jimmy Valiant: Scions of Danger”
Music Composed By Jurgen Beck – All Music Copyright © 2011 Jimmy Valiant, LLC – Used With Permission
Music from the documentary “Rescued”
All Music Copyright © 2012 Jurgen Beck – ASCAP
Music from the documentary “Divided”
All Music Copyright © 2010 Jurgen Beck – ASCAP
Music from the instrumental album “Reflections: The Father”
All Music Copyright © 2010 Jurgen Beck – ASCAP
4 Comments
7:47 pm
christopher
Wow these are pretty amazing! What programs do you use to create them?
6:39 am
Jurgen Beck
Thanks for your comments, Christopher. There are actually a large number of programs and sample libraries that you hear in the music. Among them are the top virtual instruments and sample libraries in the industry. Since each film score is a bit different, various libraries are used. This makes the list a bit long for posting here. If you have a specific question, shoot me a message and I’ll respond to that.
8:11 am
Gavin Luke
Hi Jurgen,
Your music is absolutely stunning. Your use of space in the mix sounds fantastic. What reverb(s) are you using? I particularly like the score from Standing Firm. Really great sound. Keep up the great work.
- Gavin
9:05 am
Jurgen Beck
Thanks for your kind remarks, Gavin!
I use a number of reverb plug-ins to create the space that especially the orchestra sits in. Among them are Altiverb, Breverb, and the VSL Hybrid and Convolution Reverbs from the Vienna Suite. Then there are the natural reverbs from some of the sample libraries that I only enhance a little bit with the above reverbs to fit them into the same room. The most significant aspect is that each section is individually treated in the mix, rather than running everything through a single plug-in or hardware reverb. That may be something done in mastering, and only sparingly.