It may be just because I've recorded there, there's a recording studio in East Berlin which used to be run by the East Berlin Radio organization. So each on it placed on the stage as they should be and we use one Altiverb as the main tail.
ALTIVERB BIDULE MAC
I use Altiverb for my main reverb and each of the individual Mac Minis have their own Altiverb running an early reflection program. So Violins are on one, flutes are on another. How many computers do you have running VSL? We started putting our setup together in late summer of last year, my assistant Kayla wrote an environment in Plogue that we control with the Lemur control surface, and that's how I navigate through Vienna. I would still use it, but because of the self-contained approach that Vienna have adopted, they force you down a certain route. When I first got it, it was an amazing tool to have. But Vienna Symphonic Library covers, I would say, 90% of it.ĭid working with GigaStudio change the way that you work? It really depends on what's happening musically. True Strike has been great and some of the Sonic Implants string stuff is also useful. We still have access to my library running on GigaStudio, There are a lot of percussion stuff that has been useful. What libraries are you using for your sampled parts? Everything is played into DP, and then I may get a score printout from DP, take that home and write back onto the printout. Once I have everything sketched out, then I'll bring it into the computer and maybe make adjustments from the QuickTime video. I can see that you're writing with pencil and paper.Īs you can see I have piles and piles of sketches, mainly. The process always changes, depending on the needs of the film. There's a sequence at the beginning of the film that's driven rhythmically, and thematically and harmonically it's pretty static. Sometimes you can overlay a film like this with too much thematic material. Sometimes it's themes, sometimes I have just a harmonic passage that has some qualities. You find some things will work and some things not at all, so you explore different avenues and see which ones bear fruit.
ALTIVERB BIDULE MOVIE
Not electronic rhythms, but sounds and compositional approach that has a contemporary aesthetic to it.įor the last month, I've been writing sometimes away from the movie writing thematic material and sometimes seeing how that thematic material may apply to different areas of the film. We haven't been afraid of using synthetic textures when necessary or more contemporary-sounding rhythms. What's that process, do you start with a sound, temp music, or conversations with the director?įor Boleyn Girl, after talking with director Justin Chadwick, we knew that we wanted a hybrid score that felt relevant to the period but not dictated by it. Once the card arrived in, I had projects piling up starting with The Other Boleyn Girl. Have you done any mixing in surround yet? You also have the IF-SM/DM Surround Monitoring card. Yes, I use it as my remote control surface and it works great. Because of the great connectivity of this desk and the FireWire card, I can print a stereo mix or I can record everything 32-channels at a time.ĭo you use the Remote layer as a control surface for Digital Performer? I wanted a very static and stable environment where the orchestra could always be set and I only had to press one button to print either a rough mix or to print stems. One of my goals was to have my orchestra be pretty much a constant and not have to load instruments every time I open up the sequencer. I bought the desk primarily as a standalone mixer for my orchestral setup. How are you using the IF-FW/DMmkII FireWire card in your system? For me, to have seamless connectivity between my sequencer and a mixing desk makes all the difference in the world. I'm going to be building another studio towards the end of the year and I'm sure I'll just get two DM-4800s. In terms of D to A connectors, my MOTU boxes are fast disappearing. Because it eliminates so much form the setup. Once I read that the FireWire card was coming out, that was it. There wasn't really a desk for me that had the ergonomics, the connectivity and the connection to a sequencer that I was looking for.
When the DM-4800 came out, it seemed to solve a lot of the problems that I'd been anticipating. I looked at a number of different consoles. I've always disliked the sound of mixing inside my host, and this gives me a lot of control over it. To be able to mix outside my sequencer is fantastic. TASCAM caught up with Ed just as he was installing the DM-4800 console at the center of his studio.
ALTIVERB BIDULE FULL
His films include Sky Captain and the World of Tomorrow, Charlie's Angels: Full Throttle, Reign of Fire, Laws of Attraction and The Ex. Ed Shearmur is one of the hottest young composers to hit Hollywood in recent years.
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