Associate Music Director for CSI New York

Peter Johnson is the Associate Music Director for CSI New York. Peter's musical background that has taken him from his choir in Brooklyn, NY all the way to blockbuster motion pictures like Spiderman 3, with work that spans commercials, tv, movies, and more. Peter is also a big fan of Project5, and has been using it more and more over the past year for work on the CSi series, as well as his other commercial projects.

Peter recently sat down with Cakewalk to give us his insights into the music business and discuss the tools of the trade he uses to make music.

Cakewalk (CW): Tell us about some of the projects you are currently working on these days?

Peter Johnson (PJ): I am really excited about working on an Animated Biblical Series project in connection with "Christmas Films of Moscow." Additionally, I am in the process of scoring a Cadillac and a Hummer commercial. A few pilots on Network TV. The Lox Reunion Album. I have such a wide range of musical tastes and Project5 allows me to navigate it's virtual music studio for everything from Country Rock, Hip Hop, Classical, Heavy Metal, Pop, Reggae (Dance Hall ) Acid House or whatever. It is all just music.

CW: How did you first get turned on to Project5?

PJ: From the Minister of Music Pastor Frank Haye, who is the choir director of the Sacred Arts Ministry which includes the church's choir that I sing in at the Emmanuel Baptist Church in Brooklyn, New York, "Total Praise" (www.ebc-ny.org) I was intrigued as to how easy it was to manipulate the MIDI and audio files.

CW: Typically, how do you approach a project from a workflow point-of-view? Do you usually have an idea in mind or do you play around with instruments first?

PJ: It really varies...I really think that it is project specific. For instance: for a Hummer commercial that I am scoring, I started with a sound from Rapture's synth Library, Guitarist (Mike Hampton of Parliament and the Funkadelic), Strings from Dimension Pro, Roland Rhodes Piano, PSYN II, and Pentagon 1, which are unbelievable. Project5 gives you so many ways to record that it could probably replace your MPC. If you don't have an MPC, buy Project5 instead.

CW: Can you tell us a little about your studio set-up and some of your go-to instruments that you use with Project5?

PJ: Everything for me starts with the right Microphones. I use only Audio Technica AE 5100 and ATM 250 DE to record live drums as I did for a track in Spider Man 3, and the AT 4060 Tube for vocals and other instruments. I only use 4 drummers, Aaron Spears (Usher's Drummer) Paul John (Alicia Keys's Drummer) Chris Coleman ( Chaka Chan, Israel and the New Breed and Rachel Farrell) and Emmanuel Laine from my church. As for the computers and hardware, I use a Boxx Tech "Super PC" Desktop, and the Dell XPS M1710, 4 Flat panel 20 Inch HDTV flat screen monitors, Bose Surround Sound System ( Not the Cubes) with a THX Subwoofer, to give me the full effects that the music would have in a film. 50 Inch Plasma, to watch what I have scored. Project5, Cakewalk's Rapture Dimension Pro, SONAR, Reason, TD 20S V Pro Series (Roland Drums), Roland Fantom 88, Yamaha Motif ES 8, Korg Triton Studio, RME Fire face, M Audio 410, DW Acoustic Drum Set, and real musicians.

CW: You are a long-time SONAR user as well…how do you incorporate SONAR into your projects along with Project5?

PJ: I have been using SONAR for about 6 years and it has really surpassed all of the other software companies in terms of the way that you can record, both audio and MIDI. I have recorded philharmonics with SONAR. SONAR allows you to use Project5 as a plug-in "gangsta" like for instance. if there is track that uses RXP that you would like to extend in your SONAR project, you can simply grab the clip and extend it in Project5 while it is in ReWire mode in SONAR.

CW: You recently did the theme song for the movie "Game Face", tell us a little about the movie and song you did with Project5?

PJ: Game face is a story about a conflict, and though the film is fictitious, it represents a seldom discussed reality in the NBA and U.S. society as a whole. The song that I made has a heavy thumping synth Bass doubled by a real bass with 808 Drums, live Drums, and a blaring horn from Dimension Pro. Fabulous! Additionally, it showcases one of the best MC's on the planet...stay-tuned!

CW: You do a lot of work for CBS and specifically the CSI franchise, how did you get started with those projects?

PJ: When I was injured a few years ago I contacted a childhood friend of mine who used to scout locations for CSI. With a leg brace on and 17 staples in my knee, I couldn't do much else but heal, eat, and play music, and sometimes even that was a challenge because I was in serous pain at the time. Previously, I functioned as the Corporate Secretary in the Law Department of a Major Corporation. Having been a part time Arranger, Composer, Choral Singer and Piano Player, I longed for an opportunity to re-enter the music world, but I had to pay the cable bill, feed my children, and keep the lights on. Unfortunately, no one wanted to give me a chance, some were even intimidated by legal background. Hence, the first opportunities which were first presented to me in terms of scoring music in film and television were insulting monetarily. As Jay Z says in one of his songs, "when you first come in the game they try to play you." I felt better about working on 2 projects for free. Soon thereafter, I asked my friend at CSi if he knew anyone in the music department, and after a great deal of patience, dedication, and Hollywood phone calls, I was given the opportunity to meet with the Music Supervisor of the show, just as I had graduated from crutches to a cane. 3 years later I am scoring music on the show. Additionally, my childhood friend, is now the Executive Producer of the show.

CW: Tell us a little about your musical background and influences?

PJ: I started playing piano when I was about 4 or 5 years old. I won a music scholarship to study with a Maestro when I was 6. I continued to study piano without actually knowing how to read music. Of Course, I knew E-G-B-D-F, but I could always play whatever my teacher played after hearing it once. This went on until I was about 12 when I met Reggie Workman, John Coltrane's Bass player, who is now the now Director of the music program at the New School for Music in New York. I attended Julliard in connection with a program in NYC called Prep for Prep in High School. The program was quite vigorous, but stale. It taught me a lot about music structure as it related to Classical music. However, it was noticeably absent of any "Real Soul". Any music that was not classical was criticized and placed under great scrutiny. While away on summer vacation on an island called St Maarteen (St Martin), I was introduced to a music recording studio for the first time with DATS, and reel to reel recorders. We have come a long way since then. Many of my musical influences were right in the neighborhood. Hubert Eaves III of the group D Train, (Violinists) Noel Pointer, (singer) Betty Carter. Outside of that, I was exposed to Latin Jazz, Funk, Soul, Country and Rock and Roll from my parents. They used to listen to Sly and the Family Stone, James Brown, Beethoven, The Beatles, Chic Corea, Eddie Parmeri, John Coltrane, Monk, Freddie Hubbard, Miles Davis Henry Mancini , The Doobie Brothers, Jackson 5, Barry White and the 101 Piece Orchestra, Charlie Pride, The Rolling Stones, Hendrix, Janis Joplin, etc.

CW: What was it like studying under Reggie Workman?

PJ: Mr. Workman didn't care how talented you were, he wanted you to play what was on the paper. The drill sergeant work ethic that he instilled in us made me later appreciate what he had done for us. However, instead of putting that in to Music in high school, I placed it into sports. Many of the people who attended the Muse Music School were very successful on the field. One of my friends whom attended my high school, went out on tour with Anita Baker when we were 18 years old, and he subbed for Prince and Morris Day and the Time.

CW: Do you have any advice for aspiring musicians looking to break into the music business?

PJ: First and foremost, keep God first without his presence, blessings, and favor we have nothing. One of my college friends was in a rap group called EPMD. To find out who was making Rap records, they went to the record stores and looked on the backs of albums to find out the companies that were involved...Def Jam, Ruff Riders, Atlantic. Now it's CD's. If you want to score music in films and movies, find out who is making the films and movies. Commercials, Ring Tones, Games, etc. Find out who the players are. Understand that it is a business, so your work (music in this instance), will speak higher volumes than your mouth. Be humble, yet focused, and willing to learn. Music is a part of everything, from Ballet to the advertisements in some taxi cabs. Find a manager or agent who knows the business and can potentially get you work. Copyright eeeeeeeeeeeeeeeeeverything. No exceptions! But that is just my legal opinion, hint, hint!

CW: What lies on the horizon for 2007 in terms of music?

PJ: I am working on Game Face this year, a film based on a Country music star, a few more television projects on HBO and Showtime. In addition, I formed a partnership with Jeff Motley and Like Austin, who most recently were Mary J. Blige's Musical Directors, who also played on the Destiny Fulfilled tour with Destiny's child. Additionally, they have played with Bow Wow, Mario Winans, Lauren Hill, R Kelly, Black Street, and Boys II Men, to name a few.