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“The Sputnik is a cross between a classic Neumann U47 capsule with the original M7 design, and an AKG C 12 mic with the original CK12 capsule. Maddala also uses several large diaphragm tube condenser mics he designed for Avid years ago, such as the Sputnik. He chooses AEA N8 ribbon mics matched with AEA’s RPQ 500 mic pre-amps.
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The string ensembles sometimes consist of seven violins (four first and three second), three violas and three cellos, captured using a Blumlein pair recording configuration (a stereo recording technique that produces a realistic stereo image) with ribbon mics to evoke a vintage sound. He also records small chamber groups there, like double-string quartets and woodwind quartets. Maddala keeps a Yamaha C3 grand piano and a drum kit always mic’d up so he can perform those parts whenever he needs. His multi-room studio in Los Angeles houses a live room, his main composing room and a separate piano room. His score combines live recordings with virtual instruments. I’m able to draw from a lot of different things that inspire me,” explains Maddala. are giving me quite a bit of autonomy in coming up with my own musical solutions to the action on-screen and the situations that the characters are experiencing. It all melts into the quintessential Tom and Jerry small orchestra sound.
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His musical references to Flashdance can heard in the “Cat Dance Fever” episode, and he gives a nod to Elmer Bernstein’s score for The Magnificent Seven in the episode “Uncle Pecos Rides Again.”Įach new musical direction or change of instrument doesn’t feel abrupt.
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Maddala’s vintage-meets-modern compositions incorporate contemporary instrumentation and genres like blues guitar for when the cool stray cat comes onto the scene, and an electro-organ of the muziak persuasion for a snack food TV commercial. I have a certain way of hearing drama and hearing action, and that’s what the score sounds like.” I’m taking some of the approaches that Scott Bradley used but, ultimately, I am using my own musical vocabulary. The music I’m writing for the show very much sounds like me. Maddala also listens to “music that is completely unrelated, like Led Zeppelin or Marvin Gaye, to help jog my imagination. Maddala studied those scores carefully and frequently revisits them while writing his own scores for the show. In their initial conversations, director Van Citters regularly referenced Bradley’s scoring technique. “Scott Bradley’s scoring technique is the gold standard. Comfortable cartoon tropes like trumpet blasts and trombone slides, pizzicato plucks and timpani bounces punctuate a string-and woodwind-driven score. Maddala’s compositions are reminiscent of composer Scott Bradley’s approach to the original Tom and Jerry animations. Music plays an essential role in describing the characters’ actions and reactions. New episodes of The Tom and Jerry Show are currently airing on Cartoon Network, and Maddala will be composing 39 of the episodes in Season 3.Īs with Hanna-Barbera’s animated theatrical shorts, the characters of Tom and Jerry rarely talk, although other recurring characters are voiced. Obviously, this is a Flashdance reference, so I was able to thread oblique references to Flashdance in the score.” For example, Tom’s love interest, a cat named Toodles, is an aspiring dancer by night but her day job is being a spot welder for heavy construction. It features layered storytelling that children probably wouldn’t be able to appreciate. Ostensibly, it’s a children’s show but what I’m finding is the writers seem to be having a lot of fun with allegorical references. “The storytelling is getting better and better.
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Vivek Maddala is co-composer on the series.