Alan meyerson fabfilter saturn
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The reason is, first of all, I record my orchestra with that in mind, using wide mics and surround mics. I have specific sounds for the surrounds and the front. I also don’t do a lot of half pans or pans that are between the left and left surround or right and right surround. There would be a human factor in it with the orchestration. That would be impossible to create if I were to pan things around. I then had the orchestration written so that when they were played, the parts and movements would be split between them so when you record, you get this amazing image of the music moving. But there have been changes that I do for creative purposes that suit the movie, like when I was recording and mixing for a film some years back, I had the orchestra duplicated into two sections mirroring each other in a room. The way I pan is based on my listening and understanding of how a classical orchestra is placed on a stage. For example, I would have elements with low frequency like the Bass or the Kick Drum all across the Left, Center and Right speaker, so that it has an equal strength. I would definitely use the center if it is needed. So, I have my positionings done accordingly. I care about the imaging for the person who is not sitting in the middle of the theater (the sweet spot) to have as much of a sonic experience too. I look to make two balances right – the Spectral Balance and Positional Balance.
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This means that I would be competing with that and in a situation like that, music is always lowered. That is where the dialogues are going to reside. My philosophy is “Don’t build mixes in the middle”. I rely on getting the placement of the instruments right.
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There will still be a lot more notes and techniques remaining that I haven’t written here, for which I would highly recommend the masterclass.įilmMixer: Alan, how do you approach a surround mix?Īlan Meyerson: My approach is to mix and get the balance as fast as I can and then polish the mix with EQ, compression reverbs etc. I haven’t come across another website that would change the way you would listen, mix or record. It would be a conversation with Alan on the questions that I thought were relevant especially in the film world where there is very little written about music mixing for surround.And I would highly recommend having a look at for this. But, all said and done, there is nothing like learning from the master directly. It is about getting into the mind of one of Hollywoods legendary surround mix engineer. This time, the blog is going to be a very exclusive talk on his philosophies when it comes to a surround mix, his techniques about how he mixes, how he works with Hans Zimmer, and in general, gets stuff done. A legendary mix engineer, recording engineer and above all, an amazing human being with so much patience, passion, and dedication to sharing and making things better.
Alan meyerson fabfilter saturn plus#
So, if you have loved Dark Knight, Kung-fu Panda, Inception, Interstellar, Pirates of the Caribbean, Gladiator, Captain America: Civil War, Da Vinci Code, and many more of the 200 plus movies he has worked on, you would instantly know who I am talking about. He has worked with composers like James Newton Howard, John Powell, Harry Gregson-Williams, and Danny Elfman, and has a particularly long-standing working relationship with the great Hans Zimmer that continues to this day.
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Last week I had the best time of my life when I was able to spend a week with Alan Meyerson, who is known to be one of the greatest scoring mixers of all time, and one of the very few who can make a dent in the universe when it comes to Surround Mixing.