As "Per" usual, some amazing ideas here Per, and as usual some questions get thrown up. Ill try to be as brief as poss...
Per Boysen wrote:
No request for mix by stems from the producer? If the team doing the
film mix is good that can help out the music to sound better in the
movie.
Just some proffesh biz terms I dont understand here Per, I always use /and encourage my team to use grass roots, common sense expressions, so as to not alienate customers, however, Id like to know...
Stems? Do you mean short sections of music that they can use where-ever and edit themselve into the picture?
No, I delivered some "stems" to get the job, which they loved, but now I am literally scoring "to picture" but dropping the movie edit into Logic. It a fascinating way of working, with its own challenges, but fantastic because you see the change in emotion you are making to the film, as you go. I argued for a cut with the director for example where she hung very long on the "wife" after a scene was basically over. Working in business films as I do, we are as snappy as fucking possible... Like CSI editing.. ha ha.. and here she said, NO mark, I want to focus on her pain... this, gave me a totally different way of thinking about the end of my music. instead of fading gracefully, I brought in a big expressionistic crescendo of brass and whatnot... changed the whole scene, became very melodramatic..
> Any more "live making" techniques?
I think the general "holy graal" in mixing recorded music is
side-chaining.
snip snip
Yes I was afraid you might say that.. ow.. First I don know how to do it in Logic. Although I used to do it all the time in hardware, side-chain the kick drum channel to the bass guitar of course is the classic.
or the guitar channel to the hi hat, for that in synch old school tremelo sound..
Yeah... so how?
and should I make groups then... (again Ill be looking in the manual here) but IM guessing you mean that I should put cellos and choirs and bass outputs to a new Aux... then use the clarinet or violin tracks to side chain to that aux track correct? (again how..?)
Or what? How would you divide the tracks? For example I love to use a VERY low doubke bass, almost as the drum, scrape scrape scrape, in the back gtound.. at the start, its at the front, but when all teh music comes in, it a bit overpowering.. I usually just back it off in the mix, but should I SC that?
Another general tip:
you might want to make the stereo perspective extreme,
snip
Interesting point.. go on.. Im listening..
Revers stereo image for channel one, phase
invert and lower the level a tiny bit for channel two and make channel
three mono.
OK hear I'm scare.. did you say reverse phase? Is that safe? I remember all sorts of broadcasting disasters when things were turned into mono before...
And did you mean, "one the whole darn mix.. so after I have made a nice mix, THEN do this process above? Sounds like you are going for the recording version of "that Eno Trick" he put on the back of one of his Ambient albums, for adding a third speak to your stereo system for "instand Quad sound" (well not quadrophonic, I suppose Tri-ophonic)
Thanks
M
