No excuses-the weeks have rolled on without so much as a “by your leave”: and what have I got to show for it….?
Well there was the score for ‘Ghostgirl’. As much as I would have loved to grab Hans Zimmer, Danny Elfman or John Williams and get them to rattle something meaningful out on their lunchbreak, I thought: “NO! What am I thinking about? I could just scrape together a few leftover brain cells and squeeze some creative juice out. (And besides, I am very cheap.)”
While we had most of the featured music in place (lots of Manx artists with a dash of Laura Marling thrown in), we needed to up the emotional ante a tad. *note from Ed: we’re still waiting for confirmation of use of the Laura Marling track. fingers crossed…*
Luckily our recording studio happens to be downstairs, so exporting an edit and popping down to carve some opus was convenient to say the least. OK, so we didn’t get the London Phil, or the Prague Cheapskate orchestra to move the air, but I hope most viewers will at least nod their heads in appreciation -“not bad, not bad”.
I tried not to over-do it, and kept most of the scoring to piano and strings and based most of it around a simple piano motif. Simple for me is good. It means that my fingers can still play the simple. No Rachmaninov madness for me.
Course the headaches start when we decide that we need to tweak the edit-once we started messing around with the length I needed to update my cues.
At first I had been going to do all of my post audio in Logic, but it turned out that I had most of the sound nicely shaped in Final Cut. Been doing that as I went along. As any user of Final Cut knows, though, this can be a bit of a pain as you seem to need to render every nanosecond. But bringing the raw files into Logic (via OMF export) is still a huge job.
If I am working in Apple Logic, I like to keep all of my ‘similar’ audio files on the same track, so I can apply a similar eq/compression etc. Never seems to work out that way in Final Cut. Some bright spark at Apple never thought to add the very simple ability to label tracks, realising that the extra byte of processing power that that would take might just push the programme over the edge. Anyway, who needs labels. When you have sixteen stereo pairs of audio, its just simpler to struggle. Thanks Apple.
Strange, though. You would have thought that they would have taken one look at the sister programme-Logic- and realised that labeling may just help with the organisation of the project. I think it was designed specifically to upset me.
Enough ranting. All seemed to work fine, just important to be able to switch the old brain from editing to composing to grading to blogging (well, blogging eventually). Still got a couple of weeks for any final tweaks, but I want to put this one to bed and move onwards and upwards! (A music bed?)
For the geek in you, here is a run down of some of the gear and software (pictures for those of you who like shiny things):
Apple Mac Power PC G5 (Getting on a bit now!)However running osx 10.5.8 and latest version of Logic Pro
Using Steinberg’s Halion Symphonic Orchestra
Also using gplayer plugin for my gigastudio samples(http://www.soundlib.com/gplayer/)can now access them on my mac!
Desk is tascam d3200 firewire jobby
Monitors include Alesis Monitor Two, Dynaudio BM5,Avantone Mixcubes
Also use Powercore plugins and an SSL Duende
Here is a bit I prepared earlier. Hans Zimmer? Hah! John Williams? Danny Elfman? Who needs them. I just grabbed a bit of inspiration from some pieces I’d written for other productions, and hey presto. Instant score.only took me three weeks, four days and 8 hours…..