From a technical point of view, preparing music files for delivery according to your client’s requirements should be a pretty straightforward thing. Although every project is a little bit different, there are some standard procedures, and we’ll go over them, with some definitions, a few precautions, and one or two minefields.Read More →
We have been reading great articles this month on how to stay competitive as a composer, but can technology or the latest sample library or monitors help you be competitive? It could, but it could also bear no relevance whatsoever.
For me being a recording engineer and having to appeal to a wide variety of people means that I need to stay competitive in my gear selection, my rates, my marketing, and my best practices. I can no longer afford just try to compete on my talent or skill alone.Read More →
I’m sure you’ve had this experience: you go to a party, a meeting or seminar, or maybe just an informal gathering of people — friends, work colleagues, folks out in the world. Inevitably there is one person there who stands out, the center of attention, clearly the most confident, smartest, most successful. How did this [...]Read More →
The first hint was not being sure what was up with my bottom end. Not the one in the chair, the one in the speakers. I know, I’ve been there. In the chair, in front of the speakers. Spent a good part of my life there. I should know. I’m a mixer. (Sorry, went into [...]Read More →
Recording and mixing music is a collection of skills that can take a lifetime to acquire. But almost every composer needs to do their own mixing sometimes, whether for a demo, low-budget project, or other reasons. The equipment keeps getting better and is widely available, especially with the computer software packages most composers work with. [...]Read More →
I started out by scratching my head a bit, considering the topic of Collaboration. After all, there’s often only one engineer in the room, particularly in composer’s personal studio. But then, I figured, even in that case I’m certainly not working alone or in a vacuum. It’s almost impossible not to work with other people [...]Read More →
I got my start recording score music for episodic television a couple of decades ago, when the personal studio trend was just getting going in a big way. Among many others, I engineered music for the ABC series thirtysomething with composers Stewart Levin and Snuffy Walden, and then Northern Exposure with composer David Schwartz. Both [...]Read More →
Scoring in Los Angeles!
A SCOREcastOnline.com update with Deane Ogden, Kyle Robertson and Deane Ogden interview Susie Benchasil (orchestrator/conductor) and John Rodd (scoring engineer), and a composer roundtable on the successfulness of your career in relation to your location.Read More →