SCOREcast 29: Christopher Lennertz

Fresh off Universal’s animated “Hop!”, Christopher Lennertz stops by SCOREcast for a lengthy chat on how he juggles features, television, and video games.

Inside ProTools 9

With Pro Tools 9, Avid has finally taken steps to reach out directly to media composers. Let’s take a look under the hood.

SCOREcast 27: The Long Winter

Deane Ogden and Brian Ralston co-host an edition that is so crammed with new goodies you’ll forget all about the fact that we’ve been in hiding for 10 months!

Competing with Technological Assumptions

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.

Live Recording Mixing

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 started out in fairly modest home studio settings with simple gear, and as the shows and composers gained more success, their studios became more sophisticated. They wrote some of the coolest music I’ve had the pleasure of working on, and I still remember those experiences fondly. So, I am way familiar with the “standard” model of how most television scoring…