Tips on mixing cinematic, orchestral music for film with Brian Losch

Guest post by John Hull. This article originally appeared on Soundfly’s Flypaper

Mixing Tips for Cinematic Orchestral Music with Brian Losch [Video]

When it comes to mixing cinematic, orchestral pieces — whether written to score film, TV, and other media or just for the sake of writing ambitious, epic ensemble music — there’s no doubt that each piece comes with its own set of idiomatic peculiarities. Certainly there are norms and expectations when it comes to prepping a mix in this style, but as always, exciting things can happen when you break the rules too.

That said, one thing you’re always shooting to achieve in cinema music and audio is a sense of immersive bigness. And that can come in many forms. So we talked to Brian Losch, a pro engineer with a Grammy Award to his name and a heck of a lot more accolades than that, about how he typically sets up his mixes, what he listens for, and how he tempers the storm of a (typically) enormous amount of stems.

Click to read more ...

Don't Forget The Other Half

Can you see that in the distance?  That “thing” that keeps getting further and further away in the rear-view mirror?  That’s the shrinking visibility of a distant entertainment microcosm that forced amateurs and professionals alike to be aligned with financially prosperous partners in order to fund, market, and distribute quality content.   

Click to read more ...

8th Music+Sound Awards Open For 2019 Global Entries

The Music+Sound Awards are back for another year, globally celebrating music and sound in film, TV and advertising.  Submissions can now be made, up until 29th March, via the Awards’ site www.masawards.com 

Anyone who has worked, in any capacity, on a project they feel has been significantly enhanced by the music or sound is invited to enter. 

Click to read more ...

(De)Value Of Online Content?

There has been a fundamental pivot in the way we create, consume, and share content. As the entertainment industry has shifted from analog to digital, the behavior on how the consumers spend money for online content has significantly changed. The question is whether this content should be free and accessible to everyone (if so, to what extent), or should artists, content creators, and influencers properly charge for the online content they create. If we believe that all online content should be free, will there ever be any motivation to buy this content, and if we believe that it should not be free, are we losing out on a larger fan base?

Click to read more ...