It's almost impossible to watch television anywhere in the world without hearing the music of Ken Harrison. For twenty-two years Ken has been writing music for television and film. In 1974, Ken was hired by CBS as a copyist. He quickly moved through the creative ranks - becoming head copyist and librarian. In addition, he was music supervisor for the 1974 and 1977 Emmy Awards, and worked with Lucille Ball, George Burns, and Johnny Cash on numerous musical specials. He was music coordinator for "A Star Is Born" with Barbara Streisand,"Rocky" with Sylvestrer Stallone, and the road-show for songwriter, Paul Williams. He became an orchestrator on Dallas and Knot's Landing, and also wrote several charts for Doc Severinson and "The Tonight Show" band.

In 1978, Ken got his first "solo" gig as a composer. He wrote the underscore for a Columbia Television series called "American Girls". The series didn't take, but Ken's career sure did. Snapped up by the producers of Fantasy Island, the perfect association for an eager writer was launched. Over a period of seven years, Ken wrote jazz, rock, country, classical and contemporary music. In charge of all pre-recordings needed for the show, Ken was able to do arrangements or write songs for guest stars such as Lou Rawls, Milton Berle, Imogene Coco, Loretta Lynn, Sammy Davis Jr., Jimmy Dean, and George Kennedy . Many other series and projects have followed . . . Dynasty, Dallas, The Colbys, Hotel, Hart To Hart, Heartbeat, Paradise, MacGyver, Melrose Place, Savannah, Stargate, and numerous Movies Of The Week, have all helped to expand his musical repertoire. He wrote Home Depot's commercial spots for the 1997 Summer Olympic Games and their Winter Olympic spots for their Winter '98 Games.

To have withstood the rigors of Hollywood for that many years is a tribute to Ken. Successful composers can easily find themselves discarded after a few short years. Ken has proven his tenacity, as well as his ability to "go with the flow" artistically. He's prolific at his work, sought after and awarded. He has twice won the ASCAP award for "most performed composer in a surveyed year". Not bad for a young Canadian who thought he'd grow up to become a medical illustrator.

To score a show, a composer must be able to write music which is both pleasing and appropriate. It is essential for the music to mesh with the scene . . . enhancing the performances of the actors, without being intrusive or overpowering. Consider, also, that often 30 minutes of music have to be composed, orchestrated, copied and recorded within six days. When an average composing day is 2 - 3 minutes . . . it's plain to see that the pressure can be pretty intense. An expert at working well under stress, Ken consistently delivers on all levels. Blessed with incredible "people skills", he has a reputation for delighting even the most impassioned producers, as well as eliciting optimum performances from the very talented studio musicians who have played his music . . fine attributes of the consummate conductor/composer Ken is.

Today's music requires the highest technology in synths and recording equipment. With Ken's digital, state-of-the-art studio, he can create the sounds for anything from "street" or "rap" to orchestral styles, using an immense library of incredible "sampled" sounds. He has also augmented an orchestra with prerecorded tracks from his studio to fill out the "Indiana Jones-like" action-adventure sound.

Since moving to the Pacific Northwest in 1992, Ken has developed a creative system to continue his career. Ken has citizenships with the US, Canada, and Britain, which qualifies him to work on any co-production with any of those countries. He gets himself to the studio, wherever it is, views the show with producers, and together they decide where to add music to the film. He returns home to compose, perform, record, and mix the music. If desired by the producer, Ken sends a rough dub of the music, dialogue, and picture on a video tape every other day, showing the progress of the score. That way, any changes or concepts can be discussed while the score is being written. This communication not only makes the producers feel included, but it ultimately leads to a successful and trouble-free dubbing when the score is completed.

Ken's latest venture was to dive in to the "digital" world. He has recently updated his State-of-the-Art facility by being totally supported in the digital and automated domain, using the Pro Tools 24 Mix Plus System with a plethora of plug-ins for effects and processing of sound.

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