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 ...