Winner of the Outstanding Achievement Award for Best Original Score, Druk International Film Festival, 2019.
I have 20 years experience in songwriting and audio production, and more recently expanded into producing original scores for film. My past work has been featured in film, television, theatre, and commercial spots.
Credits include: NBC's Parks & Recreation (co-write), Taming Wild: Pura Vida (score composer - Award Winner, Druk International Film Festival), Taming Wild: A Girl and A Mustang (score composer), Ford Motor Company (vocalist), The Himalayas: A Time Lapse Film (composer), I Can Ski Forever: The Musical (songwriter). Self produced albums include: Turn The World (2009), Cora Rose & Doris Buss: A Set of Jazz Standards (2012), Time Marches Forward (2017), Hidden: Guangzhou (2019), Flight & Fire (due to release 2020).
-Full service acoustic film score composition, in the style of Gustavo Santaolalla and Ennio Morricone. Includes: full original score, exclusive sync and master use license, in-house recording/mixing/mastering, soundtrack album production and distribution.
-Main vocal and/or background vocal tracks for your project
-Vocal comping and general audio editing
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- Taming Wild: Pura Vida (Documentary)
- Taming Wild: A Girl And A Mustang (Documentary)
- Parks & Recreation (Co-written song placement)
- Ford Motor Company (Vocal Performance)
- I Can Ski Forever: The Musical (Songwriter)
- The Himalayas: A Time Lapse Film (Documentary Short)
- Co-Write: Dave Brainard
- Co-Write: Michael Peterson
- Co-Write: Jill King
- Co-Write: Roy Rivers
- Co-Write: Tori Taff
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Interview with Cora Rose
Q: Which artist would you like to work with and why?
A: My died-and-gone-to-heaven scenario would be a duet with Joni Mitchell, Jewel, Alison Krauss, or Carole King.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: I have actually been on a desert island and had to make that decision! (I'm a soundscape enthusiast). I take my Zoom H2n Field Recorder and my Sennheiser HD280s.
Q: What's the biggest misconception about what you do?
A: That a woman can't be a badass producer.
Q: What other musicians or music production professionals inspire you?
A: I greatly admire Dave Brainard, an amazing producer and multi-instrumentalist, and mentor. Gustavo Santaolalla is a great inspiration for me, as are vocalists such as Norah Jones, Jewel, and Joni Mitchell.
Q: Tell us about your studio setup.
A: My studio set-up is streamlined to only include the instruments and tools used in my production style. I run Pro Tools with a two-input interface, monitoring with a pair of Mackie HR824 MK1s. Instruments included: keys, acoustic guitar, mandolin, ukelele, clarinet, saxophone, Native American flute, and cajón. Virtual instruments include: Stylus RMX with the full expansion pack, PLAY Orchestra (Silver), Superior Drummer, Native Instruments: West Africa.
Q: What do you like most about your job?
A: Owning my own time and creating sounds I am proud of.
Q: What are you working on at the moment?
A: At the moment, I am mastering the soundtrack album for Taming Wild: Pura Vida. This includes arranging digital distribution, physical duplication, handling rights management, and delivering signed copies to the film production company.
Q: What's your typical work process?
A: It depends on the job. Film composition: watching the rough cut and mapping out the emotional ebb and flow, building a set of demos for client feedback, repeat the last two steps as necessary, record the final tracks and send to the editor, master the soundtrack album and release at the date set by the client. Vocal Tracking: Receive the track from client, record ASAP, bounce out, send! Vocal Comping/Editing: Receive track, comp comp comp, edit edit edit, send! Songwriting: Receive vision and instructions from client, work on the element asked, send multiple options to client for feedback, record final version
Q: What's your strongest skill?
A: Definitely my strongest skill is in vocal performance, followed by songwriting and composition.
Q: What type of music do you usually work on?
A: My speciality is definitely acoustic folk/pop, though I have really enjoyed branching into more alternative pop productions as well as jazz and bossanova. My film compositions are largely acoustic-instrument based, mostly classical guitar/mandolin/piano, blending latin themes with acoustic folk.
Q: Can you share one music production tip?
A: Dynamics are key, and leave room for space between each element of the production. Space between the elements creates so much more than a wall of sound.