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Uncategorized | Scoring Film
https://scoringfilm.net/category/uncategorized
Blog on Scoring, Sampling and Recording. Star Wars: Hi-Res Recordings. The soundtrack for Star Wars: The Force Awakens has just been released in hi-res 24-bit/96kHz FLAC. An absolute must for those wanting to be able to reference that wonderful Shawn Murphy sound. While previous films in the saga were scored … Continue reading →. Star Wars: Battlefront Soundtrack. Before discussing audiophile recordings, it is useful to understand the history of orchestral recording. Whilst there is much debate about...
scoringfilm.net
audiophile recordings | Scoring Film
https://scoringfilm.net/tag/audiophile-recordings
Blog on Scoring, Sampling and Recording. Tag Archives: audiophile recordings. Before discussing audiophile recordings, it is useful to understand the history of orchestral recording. Whilst there is much debate about the first recordings, there is no doubt that early last century there were two leading figures in early orchestral recording. … Continue reading →. Star Wars: Hi-Res Recordings. Star Wars: Battlefront Soundtrack. Full orchestra ‘placement’. Placement in the acoustic ‘space’.
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Reference Tracks | Scoring Film
https://scoringfilm.net/2014/01/04/reference-tracks
Blog on Scoring, Sampling and Recording. Audiophile Recordings →. Each sound engineer aims to achieve a specific sound for their recording. This can range from a natural perception of concert hall reality to the most bombastic film sound. Reference tracks from commercial recordings are a good resource to A/B reference against to match EQ, instrumental balance, pan, reverb, distance etc. Here is a broad spectrum of orchestral film soundtracks to use as reference depending on the sound you are aiming for:.
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Film Sound Engineers | Scoring Film
https://scoringfilm.net/2011/07/20/film-sound-engineers
Blog on Scoring, Sampling and Recording. Placement in the acoustic ‘space’. →. Although I have already mentioned a few engineers in the last few posts it is worth looking at two specifically. They, in my view, represent the most prolific exponents of the two main strands of orchestral film recording. Has well over three hundred soundtracks to his name including thirty with the composer John Williams and the legendary Star Wars series. In another mix magazine article entitled Scoring the Patriot. One coul...
scoringfilm.net
scoringfilm | Scoring Film
https://scoringfilm.net/author/scoringfilm
Blog on Scoring, Sampling and Recording. Star Wars: Hi-Res Recordings. The soundtrack for Star Wars: The Force Awakens has just been released in hi-res 24-bit/96kHz FLAC. An absolute must for those wanting to be able to reference that wonderful Shawn Murphy sound. While previous films in the saga were scored … Continue reading →. Star Wars: Battlefront Soundtrack. Before discussing audiophile recordings, it is useful to understand the history of orchestral recording. Whilst there is much debate about...
scoringfilm.net
Audiophile Recordings | Scoring Film
https://scoringfilm.net/2015/01/27/audiophile-recordings
Blog on Scoring, Sampling and Recording. Midi Mock Ups →. Elgar recording with the LSO in 1914. The DVD Audio recordings are generally 5.1 surround sound recordings, however my personal opinion is that they are not effective or realistic and tend to be a little over produced and unnatural (sound limited to stereo on examples):. A complete list of known 5.1 orchestral recordings can be found here. To try. Some of these files can be as ridiculously hi-res as raw audio (32bit, 352Khz)! Midi Mock Ups →.
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Recording | Scoring Film
https://scoringfilm.net/category/recording
Blog on Scoring, Sampling and Recording. Each sound engineer aims to achieve a specific sound for their recording. This can range from a natural perception of concert hall reality to the most bombastic film sound. Reference tracks from commercial recordings are a good resource to A/B … Continue reading →. So what is the ‘film sound’? As far as the main mics (hauptmicrophone) are concerned there have been two common techniques used since the 1950s by the dominant classical recording labels (EMI and Decca)...
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EQ Matching | Scoring Film
https://scoringfilm.net/2012/11/27/eq-matching
Blog on Scoring, Sampling and Recording. Full orchestra ‘placement’. Reference Tracks →. Another technique which can be employed to achieve the correct placement in space is EQ matching. Take a reference track with the desired sound and match the EQ of the sample to the reference:. EQ Matching in Ozone. Dry recorded trumpet = yellow EQ line. Reference track Born on the 4. Of July, Williams = purple EQ line. Resulting required EQ = red EQ line. Another software solution is to use a plugin like Clone Boy.
scoringfilm.net
recordings | Scoring Film
https://scoringfilm.net/tag/recordings
Blog on Scoring, Sampling and Recording. Before discussing audiophile recordings, it is useful to understand the history of orchestral recording. Whilst there is much debate about the first recordings, there is no doubt that early last century there were two leading figures in early orchestral recording. … Continue reading →. Star Wars: Hi-Res Recordings. Star Wars: Battlefront Soundtrack. Full orchestra ‘placement’. Placement in the acoustic ‘space’. The appearance of realism. Music behind the screen.
scoringfilm.net
Reverb & Reality | Scoring Film
https://scoringfilm.net/category/reverb-reality
Blog on Scoring, Sampling and Recording. Category Archives: Reverb and Reality. Taking all the information researched and discovered thus far we can now form a model of the ideal concert hall reverberation for orchestral recordings: Using this model as reference we can now alter any solo recordings or samples by adding or reducing certain elements to … Continue reading →. As we are starting to delve deeper into the subject of acoustics and reverberation, now would be a good time to explain some of these ...