Paul Linford Scores

Want to slip into a movie seat and feel yourself picked up, thrown around, your heart racing, sick with thrill, sweating, breathing, with your pulse and pupils dilating in time with the sonic groove of the driving, swelling music inside the film? Without narcotics?

Well, lucky for you, Paul Linford (Gone In Sixty Seconds, Bad Boys II) kicks down the serious rocktronica that, love it or hate it, has made its way into over 24 feature films. And now he’s moving into scoring for video games.

Who? What?

Linford, with his film-scoring partner, former rock and roller Trevor Rabin, has stumbled into solo scoring 40 minutes of his Rob-Zombie-meets-Chemical-Brothers style sonic mayhem for a super-secret, and as of yet, unnamed release.

First game jitters? Freshman shakes? Nope. Linford seems pretty fearless about it. “Forty minutes?” he says. “That’s just a small movie.”

Linford runs his mixing operation on three Power Mac G5s, hooked up to three Pro Tools HD3 Accel cards and six 192s. He uses two of the HD3-Accel-infused Power Macs for his DAW—one as mixer for Pro Tools and the other to run Logic Pro. He uses the third one to run Ableton Live.

In addition to the Mac arsenal, Linford hosts GigaStudio on even more PCs. “I’ve got four great PCs that were built by the now defunct Sound Chaser,” says Linford. “I’ve got those loaded up with Giga Orchestra 3.”

And Linford listens to his mixes through a set of Miller & Kreisel (M&K) Pro 2510-PK monitors with a M&K sub. He relies on Logic Pro to program all of his MIDI arrangements and virtual instrument tracks, guitars, and bass, then records those arrangements and his GigaStudio tracks out to Pro Tools.

No worries there, though. Linford’s home studio — which nestles against the Hollywood Hills — is stacked with outboard synths and samplers galore, including a Waldorf Micro Wave XT, Clavia Nord Rack 3, TC6000, TC3000, Line 6 Pod ProXT, Bass Pod ProXT, and Echo Pro, and a few old ART processors.

He also just got a brand new M-Audio Pro-88 controller, an 88-weighted-key keyboard with lots of knobs, that he bought to trigger all the software instruments he’s got loaded up inside of Logic Pro, Pro Tools, and GigaStudio. “I like it because it’s very tactile, with lots of options for tweakability,” says Linford.

“I love the ImpOSCar,” says Linford. “I’ve gotten a lot of mileage out of that one for sure.” He also likes the G Force Oddity. “It’s a true emulation,” he says. ”No added delays built in or anything. I’m looking forward to their Minimonsta too. Oh yeah, I also really like the MTron and the Oxford EQ plug-ins as well.”

Moreover, Linford uses some Audio Units in the making of his score material. “I really like the Sculpture effect in Logic Pro because it’s really weird sounding,” he says. “That, and the Native Instruments Pro 53, Spectrasonics Stylus RMX, and, of course Ableton Live 4. That new Operator instrument sounds really good.”

After being a guitar and keyboard tech for Yes, Jimmy Buffett, Hall & Oates, and Fleetwood Mac, Linford picked up a gig working on the score for 1989’s Glimmer Man with Trevor Rabin.

“It was actually supposed to be my buddy’s gig, but he passed it on to me,” explains Linford. “24 feature films later, he’s kinda sorry about that one.” And, at this rate, we can expect to hear at least that many more sonically charged film scores produced by Linford over the next 10 years. But be forewarned: Linford’s going to try and rip your ears off. In the most pleasurable way possible.