A powerful film or game score, a backing track for a song or just a guitar or mandolin? Maybe a mock up Beatle – style track or a vintage big band track for your video? I can create anything from intimate music to a kick-ass epic theme, emotional soundscapes or a modern TV show score. More passions: I can mix & edit and I also restore old audios.
I'm a composer, a guitarist & an arranger.
My music is regularly licensed worldwide for different TV productions. I can make anything from fragile intimate music to kick-ass epic themes, from creating tension for a reality show to making breathtaking soundscapes.
I secretly cherish a passion to vintage recordings and I love imitating and recreating specific bands' music and recording styles.
If you need a Beatles or a Rolling Stones 'sound' I can compose new music for you that will save you from having to pay hundreds of thousands of dollars in licensing fees.
Some more about me and my work:
Producer & Dutch TV NPO2 documentaries' editor in chief Jelle Peter de Ruiter described my music as "...the best music I ever heard in a documentary", referring to my work on the documentary 'Een Goede Moslima'.
I use the best sample libraries available and can create anything from a warm orchestral piece to a sweet dramedy theme. If necessary I can make old style sounding recordings of a 30's latin big band or an 80's Pop band. I particularly enjoy mixing styles. You'll make my day if I have to create 20's sound blues track morphing into Heavy Metal!
I also do audio restoration work (tape, vinyl, hiss, scratches etc.). My recent work was the Los Jets band anthology 'Leccion de Twist' (Argentina)
* Please check out my website: www.lionelziblat.com
Send me a note through the contact button above.
3 ReviewsEndorse Lionel Ziblat
Lionel had worked as composer for my documentary film "Adapters" a few years ago. He had created a beautiful music for the film. I think, that Lionel a very talented composer who has deep understanding what the filmmaker wants to achieve in the film. He could work hard and he did a lot to get great result. A lot of people had positive remarks that the music in the film played a big role. I truly recommend Lionel as a professional composer.
Lionel was fantastic to work with on the film he scored for me a few years ago. He got what I was going for right away and there wasn't many changes to his first pass so that's always a great find in a composer. I still think of that score as one of my favorites and still looking for a project for us to collaborate on in the future. Great guy and great work!
Working with Lonny on the score of my studentfilm The Maiden & The Gatekeeper was a wonderful experience. With Lonny, delivering something unique - somethings that will shine a new light on the visuals - and keeping the intent of the director in the back of his mind are two sides of the same coin. He truly cares for your film which doesnt't make him shy away from artistic arguments. This means he's willing to go the extra mile to give your film exactly what it means. In short, Lonny is collaborator and also a true storyteller.
Interview with Lionel Ziblat
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I apologize for the cliche answer, but I'm proud of every single thing I do. The most fresh one is usually the latest one.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Not currently.
Q: Analog or digital and why?
A: It depends on the production, budget, and time schedule. If we're talking about guitars, it's my 'home base'. I would rather have them performed live. If there's a solo instrument involved it can also best be played live. In the case of an orchestra, it very much depends mostly on the budget of course, and the character of the music.
Q: What do you like most about your job?
A: In a song: Making it "walk" and sound authentic. In a film: Creating the magic of luring someone into a story.
Q: What questions do customers most commonly ask you? What's your answer?
A: There is no one particular question that I can think of.
Q: What questions do you ask prospective clients?
A: As stated above: What is the impact we're trying to achieve. Depending on the kind of production, it could be useful to know who's the potential audience.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Know exactly what you want. Either or both in terms of what you'd like to hear but not less important what is the impact you want to achieve (in the case of a movie score). The better you explain your wishes, the better I can provide the answer.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Hmmm... 1) An Atmospheric Water generator 2) A good hat 3) Sun glasses 4) A fishing pole 5) A guitar (with a whole bunch of strings for years to come)
Q: What was your career path? How long have you been doing this?
A: I have been playing guitar professionally since 1990. I also wrote songs, and gladly branched into classical composition and Jazz guitar while in the conservatory (1998 to 2006). I studied orchestral conducting and conducted several choirs before getting back to leading a Prog Rock band for a few years (Modest Midget). While I was writing and producing all the music I kept on writing and arranging chamber music, as well as producing backing tracks for different instances. After the band I went into creating music for film & TV.
Q: Which artist would you like to work with and why?
A: Where film music is concerned, composer John Williams. Because he's a master in any possible level. His melodies, harmonies, his textures, the orchestrations, his abilities of expressing just the right theme for every character and every possible mood. In music production I would probably like to work with Radiohead or Bjork. They're both at home with production & sound as well as with "old school" live performance. Strong musical characters and extremely innovative still!
Q: Can you share one music production tip?
A: The first tip is to try to clear your mind before you make a judgement. Try to avoid taking big decisions when you're tired or stressed. I know it's more easily said than done but in my experience it's the most efficient way.
Q: What type of music do you usually work on?
A: This can be quite varied. I love working on different styles and genres. All the above mentioned genres take place, and I'm always open to learn and expand into new territories.
Q: What's your strongest skill?
A: I'm persistent. When I offer a finished product it's after I've been through a long and tedious process of experimentation, decision making and. I strive to completely stand behind every production, quality-wise as well as artistically.
Q: What do you bring to a song?
A: I approach a song in the simplest manner possible, and I never add or change anything unless I feel it's absolutely necessary. The rest; style, genre, attitude, mood, tempo and rhythmic approach (or not) is all up to you, the client ;-)
Q: Describe the most common type of work you do for your clients.
A: I compose, arrange and produce music. Anything from songs to orchestral pieces. A big passion of mine that combines all of this is writing music for film and media. Anything from feature films to documentaries, TV shows, games and other media.
Q: What are you working on at the moment?
A: I'm finishing a brilliant gypsy-like track with a bunch of friends, all fantastic musicians. I'll be uploading a video soon enough ;-)
Q: What's your 'promise' to your clients?
A: I always give my utmost best.
Q: What's the biggest misconception about what you do?
A: I don't think in terms of misconceptions. I am aware, however, that sometimes people are so involved in their own activities that they sometimes forget to keep their eyes open and realize that what I'm offering them is my utmost best. It often happens that my first suggested track seems "too soft" or "too complex" because the stress creates grave expectations probably. I often heard directors admit that my first suggestion was the strongest.
Q: How would you describe your style?
A: As I mentioned it before, I feed on variety, but people do seem to recognize an imprint of my style. I wouldn't be able to put it into words, but I one of the rare characteristics of my work is that I understand Classical music as well as other styles, having conducted and written a lot of chamber music, as well as having played in Rock & folklore bands.
Q: What's your typical work process?
A: I first talk to the director and try to get into his mind, understand his challenges and wishes, as well as his taste. I then watch the relevant movie (or footage) and allow it to sink in. I find that the most important work happens in my mind when I meditate or take a stroll along the beautiful Amstel river near my home. I then write the basic musical idea(s), usually the old fashioned way; with a pencil and a piece of paper, and I start molding it in my studio.
Q: Tell us about your studio setup.
A: I have a simple and very focused set up consisting of Cubase, a Komplete Kontrol keyboard, sibelius (for writing scores for real musicians if applicable) and a variety of sample and sound libraries, from Native Instruments through East West, Spitfire etc.
Q: What other musicians or music production professionals inspire you?
A: Although I use the most current and modern sample libraries and recording platforms, I'm still mostly inspired by the 'old gang' of traditional film composers (and classical composers) like John Williams, Bernard Hermann & Alex North. Besides I have great affinity with classical music (my favorite composer is Ravel), Latin American Folklore, Gypsy music from the Balkan, Jazz, Progressive Rock, Contemporary Classical Music and other world music styles.