Feb 14, 2019 | Daily Film Scoring Bits, Technical
Good Samples vs Bad Orchestras On low budget movies, composers often try to squeeze the last penny out of their budget and try to get amateur or student orchestras involved to record their score. My general experience on such experiments is to rather go for a good...
Feb 7, 2019 | Daily Film Scoring Bits, Technical
Placebo Effect When Mixing/Mastering Mixing and mastering has a lot of placebo effect potential and considering all the esotheric advices and approaches that some people advocate for on the internet regarding the improvement of their mixes, it is also a field to get...
Jan 31, 2019 | Daily Film Scoring Bits, Technical
Streamlined Working Environment Keep your working environment streamlined and focused. Many people like buying all sorts of gear or sample library they can get their fingers on and believe it will improve their output quality but in reality, the more you have the...
Jan 24, 2019 | Daily Film Scoring Bits, Technical
Marking Scores During Recording Sessions In recording session situations, it is crucial to keep an overview over which parts of a cue are already covered in a good take and which parts still need another take or a few bars to patch them later in the editing. A very...
Jan 17, 2019 | Daily Film Scoring Bits, Technical
Limits of Orchestral Mixing Be realistic about what is achievable in a professional mix and what not. Especially on orchestra recordings where the whole orchestra has been recorded in the same room at the same time, there is no real possibility to heavily alter the...
Jan 10, 2019 | Daily Film Scoring Bits, Technical
Key Switches vs. Many Tracks The majority of sample libraries nowadays rely on so-called key switches. By triggering a (usually very low) note outside of the range of the instrument, you can switch to another articulation of the same instrument (e.g. switch between...
