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 8, 2019 | Daily Film Scoring Bits, Technical
Learn Your Tools Working as a composer for commercial media requires you to stay up to date regarding technical and stylistic developments. This means, it is part of the job to more or less regularly get accustomed to a new piece of soft- or hardware. This could be...
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 25, 2019 | Daily Film Scoring Bits, Technical
Safety Takes Whenever you record live instruments, no matter if it is just a soloist or a whole orchestra, always go for “safety takes” if time allows. Those are takes that you do after the point where you are happy with a take. It can and will happen that you don’t...
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....
Jul 11, 2019 | Daily Film Scoring Bits, Technical
Click Track and Gradual Tempo Changes Ritardandos and accelerandos are very tricky to do with a click track that live players need to record to later. Especially the standard tempo changes that DAW’s offer with a constant slowdown or speedup usually feel very...
