Aug 15, 2019 | Daily Film Scoring Bits, Technical
Cinema Sound Systems Surprises Unless you get a chance to listen to your score in a mixing cinema when doing the film mix (which is usually something only higher budgeted movies do) you should be prepared for your music sounding quite different in the cinema than it...
Aug 1, 2019 | Daily Film Scoring Bits, Technical
Orchestral Intransparency It is in the nature of orchestral music to not be able to hear every instrument clearly in the mix. Some instruments like woodwinds even regularly “drown” in tuttis and their only purpose is to add to the ensemble sound. This is actually a...
Jul 18, 2019 | Daily Film Scoring Bits, Technical
Remote Music Mixing Being present on the music mix is obviously the best situation but sometimes due to budget or location issues, it is not possible to be there. Unless you’re mixing the music yourself, you need to have quite a bit of trust in your mixing engineer....
Aug 30, 2018 | Daily Film Scoring Bits, Technical
Music Mix as Part of the Concept Not only your musical concept and style is part of making a score homogenous but also the mix. If you record a live ensemble for your score, you will most likely have a quite homogenous mix throughout the score as the room/mics etc....
Aug 9, 2018 | Daily Film Scoring Bits, Technical
Strategies for using reverb There are probably thousands of philosophies of how to add reverb to a recording. Especially with orchestral tracks, many people are concerned about creating a proper field of depth within the orchestra and create a proper impression of...
