<H1>Los Angeles Music Lab | Edward Auslender | Composer, Sound designer and Producer</H1> <tr> <b></b> <tr> <b>Edward Auslender</b><br><b>Composer, producer and sound designer</b><br> Born in 1961 in Los Angeles, I lived and worked in France for over 20 years. Since last September I am seeking to establish a career in the USA, composing music for films, animation and songs. I am currently seeking collaborators to write family oriented musicals. In April 2008 I founded the L.A. Music Lab, creating myself a place to work and providing theater, film and television with a full range of services, raging from sound design to original music for their productions. The L.A. music lab maintains the same high quality and friendly atmosphere of my Paris studio. It is also a place where other composers and songwriters can come and work with my assistance on their projects. Always cooking up new material, I enjoy blending my favorite musical ingredients: live acoustic instruments played by jazz musicians, classical soloists and ensembles, real world sounds, music from around the world, and sometimes a pinch of electronic synthesized sounds, just to add flavoring and that little extra oomph, mixing the different forms, styles, colors and rhythms. In 2006, I composed and produced the music for the musical theatrical production of Barbe Bleue (Blue Beard) directed by Andr&eacute; Nerman, just finished playing its second season in Paris, and preparing to go on tour. This show has been getting rave revues on line from spectators. In 2005 I was in charge of composing and recording the music for 65 episodes of Kiri Le Clown, a well-known cartoon series for children aired every day on France 5 Television. I first studied privately with composers Janine Richer and Bruno Gillet, then spent four years studying film music at the Ecole Normale de Musique de Paris where our assignments got played by the school's orchestra. I majored in composition and orchestration classes at both the CIM and the IACP, two old and wonderful Jazz schools in Paris. I studied electro-acoustic music with composer Gino Favotti at the Conservatory, learning the art of electronic music and sound manipulation techniques using today's digital world, ProTools, GRM tools, Digital Performer and other exciting software. I continue to study music; studying classical percussion instruments for the past few years. I now tailor music and sound for live theater, modern ballet, movies, and television productions alike. My film score credits include: Anagramme, dir. Vincent Motez; A vot? Service; Le Taxi, dir. Gabriel Mamruth, (Selected at the Clermont Ferrand, Public's prize at the Montluçon Festival, Jury's prize at the Evreux Festival and the Golden Ear at the Valladolid Festival); Coup de Foudre and Th&eacute;o T?es L&agrave;?, dir. Julie Lipinski (Philip Morris Prize); Sous le Signe de la Lune, dir. Jean-Louis Cros (Grand prize Toulouse Lautrec at the Festival d?Albi); Petite Musique de Nuit, Dir. Jean-Jacques Lonni (a lovely animated movie about piano lessons), Ne m?appelle Plus BB, dir. Olga Gambis (Beaumarchais prize for Best Film 2003 at the Creteil Women?s Film Festival). My original scores for television include: Dali Baba et les Quarante Brouettes, Official Selection at Imagina, distributed by Canal+; turn-of-the-century 12 silent films, which aired on La Cinqui&egrave;me in La Preuve par Cinq. My original scores for television include: Dali Baba et zIn the world of theater, I have designed sound and composed for: Couki et Louki Sont Sur un Bateau, dir. Martine Feldman, Theatre de la Ville de Paris; Georges Dandin, dir. Patrice Kerbrat, Theatre de Carouge (near Geneva); Le Vieux et le Perroquet, dir. Claude Confortes, Theatre Tristan Bernard? Here in Los Angeles I have worked on: Le Man&egrave;ge de Glace, dir. Daniel Mesguich, Ivar Theater; The Book of Christopher Columbus, dir. Andr&eacute; Nerman, Stages Theater Centre. I have also run numerous songwriting workshops for kids, teenagers and adults, taking them through all of the stages involved in the creative and technical processes of making a CD. This includes writing the lyrics, composing and orchestrating the music, recording the musicians, singing the songs, designing visuals for the CD? well, everything it takes through releasing the final CD. Parallel to composing, I have always been an active sound engineer, hired mainly by: - My fellow composers and musicians to record their music and concerts, - Musical-theater and kid-show productions, preparing their new projects, - Singers, preparing their concerts and/or albums. Several of these recordings end up being mixed and mastered to be released as commercial CDs. - Actors who record voice demo tapes. - Most of all, theatrical producers and directors, who continue to flock to me, for the quality of the soundtracks I create for their plays. For many years now, my clients and collaborators have been calling on me over and over again, commenting on the serene quality of my listening, my positive suggestions, my seamless editing and, last but not least, the delicious coffee, offered in a relaxed and friendly yet professional atmosphere. <br><br> <tr> <tr> <P>This website requires </P><a href="http://www.adobe.com/fr/downloads/">Adobe Macromedia Flash Player</a><tr><P>Website created by </P><a href="http://www.artinbox.com">Artinbox Multim&eacute;dia</a> <p><b>Los Angeles Music Lab | Edward Auslender | Composer, Sound designer and Producer </b></p>