Dec 12, 2019 | Daily Film Scoring Bits, Technical
Stereo Snare Drums The advantage of recording a score in a scoring stage versus playing a “regular concert” with an orchestra is that you can alter the setup of each cue (within reason). For instance when you want a really large snare drum sound, let’s say...
Nov 28, 2019 | Daily Film Scoring Bits, Technical
Mix Automations in Orchestral Music Mix Automations are pretty common in music productions. It basically means that you program parameters of the mix (like fader levels, pan, reverbs etc.) to change automatically during the course of the track, e.g. raising the levels...
Nov 21, 2019 | Daily Film Scoring Bits, Technical
Microphone Spill When recording a real orchestra, unless isolated in separate booths or recorded in several sections, you will basically hear every instrument on every microphone. This goes particularly for loud instruments like percussion and brass in forte or above....
Oct 10, 2019 | Daily Film Scoring Bits, Technical
Tired Ears If possible never deliver a final mix for important clients right after you finished working on it but rather sleep over it. Very often, when you work for a long time on a piece you either start to not hear problems or start to hear problems that are not...
Jul 4, 2019 | Daily Film Scoring Bits, Technical
Small Ensemble Seating When recording or overseeing the recording of a small ensemble of musicians, pay attention to a few seating issues. If you’re not depending on a specific seating of the musicians for other reasons, you might want to go for the following option:...
