A Day in the Life of a Scoring Stage
Apr 1, 2004 12:00 PM, By Maureen Droney
DMT Rentals Supplies Warner Bros. Orchestral Date
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Understanding Bass Management
With Bob Hodas, November 20th
Brought to you by Ex'pression College for Digital Arts and Mix
Bob Hodas explores best practices for Bass Management in your studio, explaining how to set up a bass managed system, what features to look for in a Bass Management box and much more.
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Mastering Stories
Our December issue will focus on mastering. We'd like to hear from mastering engineersÑtell us about your most interesting mastering project. E-mail us at mixeditorial@mixonline.com.
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Avid Presents: Remix Hotel Los Angeles| Dec. 4-6, 2008 |
Hot off an incredibly successful event in Atlanta, Remix Hotel is gearing up for its final event in 2008: Remix Hotel Los Angeles. We're busy putting together a killer weekend of panels, production and more. Keep it tuned to remixhotel.com for registration and schedule details, and be sure to check out all of the amazing videos from Atlanta and New York! .
This Month in Mix
Multiple formats, mountains of preamps and converters, miles of cable, a 96-input console and a 100-piece orchestra: These days, recording an orchestral score for a major motion picture often requires an infinitely complicated setup — and a very skilled crew. Mix visited the Clint Eastwood Stage on the Warner Bros. lot in Burbank, Calif., one morning to observe the day-long setup required to record the score by veteran composer Jerry Goldsmith for the animated feature Looney Tunes: Back in Action. Mixer Bruce Botnick headed up the session, with a team that included, from Warner Bros., Greg Dennen, recordist; Ryan Robinson and Peter Germanson, scoring technical support; Rich Wheeler and Barry Fawcett, floor operations; and Jamie Olvera, client services. Also on the stage were Pro Tools operators Thomas Graham and Bob Bayless, and the team from DMT rentals: Doug Botnick, Brad Cobb and Eric Cowden.
A Pro Tools rig, manned by “chief science officer” Nick Vidar, controlled playback of prerecorded tracks from Goldsmith's GigaStudio and various synthesizers. Re-cording for the session was to two DMT Pro Tools|HD systems. Both Goldsmith and Botnick prefer to get their mixes live: The first Pro Tools rig recorded the 11 channels of live film mixes at 48 kHz/24-bit using dB Technologies converters. The second DMT Super Pro Tools for the main multitrack format was configured to record Botnick's Neumann M 150 overall mics on its first eight tracks at 192 kHz/24-bit, with the rest of the tracks recording at 96 kHz/24-bit. Tracks 1 through 8 used outboard Pacific Microsonics AD/DA converters, and tracks 9 through 48 used Genex GXA8 A/D and dB Technologies DA824 D/A converters. Recording as safety backups were a Genex 8500 MO deck in PCM mode to capture the 5.1 mix, plus a 48-channel iZ Technology RADAR system. Additionally, the session was recorded in 1-bit DSD mode for a stereo SACD that is for an album version of the soundtrack through a pair of EMM Labs Meitner Design DAC8 converters to Botnick's DSD 8500, which also recorded for full surround and 44.1 CD formats.
Modern Recording and Mixing
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Mastering Cubase 4
Electronic Musician magazine and Thomson Course Technology PTR have joined forces again to create the second volume in their Personal Studio Series, Mastering Steinberg's Cubase(tm). Edited and produced by the staff of Electronic Musician, this special issue is not only a must-read for users of Cubase(tm) software, but it also delivers essential information for anyone recording/producing music in a personal-studio. Order now $12.95
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