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for any folks interested in my film-scores ::: "that awkward moment" on iTunes

splatt

david torn / splattercell
Platinum Supporting Member
Messages
26,253
7 tracks from my score to "That Awkward Moment" are featured
on the soundtrack/score release;
the film opened in theaters (usa), yesterday.
the soundtrack/score release is def on iTunes, now.



should there be interest, here,
i'll answer questions about the score & the process in this thread.
 
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splatt

david torn / splattercell
Platinum Supporting Member
Messages
26,253
Way cool, congratulations. How did you get the gig?
thanks!, chris.

it's pretty hard to really know, but i think i got the gig from
a) having scored "lars and the real girl", "friday night lights", "the wackness", "everything must go", "the order", "the line", "anvil: the story of anvil", "saint john of las vegas", "the line", "jesus henry christ", "traffic", "the lincoln lawyer" & etc, and maybe from
b) having worked-on "no country for old men", 2x "twilight" films, "the big lebowski", "the fifth estate", "adaptation", "LOTR", "maps to the stars" and, well..... well over 100 more.....

but, mostly it must have been about letter "A", i'd say.....
that's why they called, it seems.
 

splatt

david torn / splattercell
Platinum Supporting Member
Messages
26,253
Nice splatt!
I didn't know about Lars...loved that movie :)
thanks!, and..... yeah:
"lars" was one of my very favorites on which to work, for sure!
 

shikawkee

The One True King
Messages
12,717
Sounds terrific David. Gonna' listen again with my new headphones to get the full effect.

Sent from my SAMSUNG-SGH-I337 using Tapatalk
 

shikawkee

The One True King
Messages
12,717
I really like the panning on this stuff. Did you record it yourself and who did the piano parts?

Sent from my SAMSUNG-SGH-I337 using Tapatalk
 

Chris63

Silver Supporting Member
Messages
469
thanks!, chris.

it's pretty hard to really know, but i think i got the gig from
a) having scored "lars and the real girl", "friday night lights", "the wackness", "everything must go", "the order", "the line", "anvil: the story of anvil", "saint john of las vegas", "the line", "jesus henry christ", "traffic", "the lincoln lawyer" & etc, and maybe from
b) having worked-on "no country for old men", 2x "twilight" films, "the big lebowski", "the fifth estate", "adaptation", "LOTR", "maps to the stars" and, well..... well over 100 more.....

but, mostly it must have been about letter "A", i'd say.....
that's why they called, it seems.
Haha, I get it. Very impressive resume. My wife asked. why I don't do gigs like that! I told her it may be my lack of talent, but I do compensate with enthusiasm.
 

Bob Maximus

Gold Supporting Member
Messages
7,990
Thanks for the links. I'll be checking them soon. It's a real honor to have you on TGP Mr. Splatt!
 

Mondoslug

Member
Messages
3,706
should there be interest, here,
i'll answer questions about the score & the process in this thread.
Yay! Door open - goin' in. Thanks!

Assuming you did this at your place and sent it off afterwards,
are these two track mixes that you send or stems of some sort or...?
I was curious what kind of level dB-wise they are sent off as also but maybe that depends also on the budget and how much of that is taken care of post.
When you're 'mixing' the final tracks, any VI stuff that you're using do you burn that to audio first or just let it rip in VI mode or does it just depend on the particular mix & how it's behaving or....

anyway, thanks!
 

splatt

david torn / splattercell
Platinum Supporting Member
Messages
26,253
Yay! Door open - goin' in. Thanks!
all good, andy!

Assuming you did this at your place and sent it off afterwards,
yes, this was done at my place.
the sending-off is an ongoing process:
write & record a cue:
do a rough mix, both to QT (balanced w/dialog, SFX & the "new" score-cue) & as a stereo mix:
send to director/producer & to music-editor:
receive change-notes:
apply change-notes, until approved:
finish cue.

are these two track mixes that you send or stems of some sort or...?
i send both stereo mixes & stem-files to the stage;
i send the stereo mixes so that my original & approved cue can be referenced & heard in the way i hear it,
when they're all mucking-around with the stems on the final dubbing (mixing) stage.

after the above-list is all done,
i return to the mixes in order to tweak/"improve" them, from my POV,
for non-film listening.


I was curious what kind of level dB-wise they are sent off as also but maybe that depends also on the budget and how much of that is taken care of post.
the tracks that i send to the stage are sent a bit hot, in relation to the production's dialog & fx tracks;
usually, their peaks will never be hotter than -9dB, though they're mostly around -12dB, sometimes lower.
24bit, of course.

the music-only finals, though,
see an increase in both peak and average levels.....
but, i keep a careful ear on the increase in average levels,
as the occasionally extreme dynamics of score remain important to me.

When you're 'mixing' the final tracks, any VI stuff that you're using do you burn that to audio first or just let it rip in VI mode or does it just depend on the particular mix & how it's behaving or....
well..... i don't like to mix from stems, so i minimise what's being printed;
since it is film-music, i never wanna get stuck if & when
--- even at the very last minute ---
the director & producer(s) suddenly want "nearly impossible" changes.
so, but:
sometimes, i'll print (or, simply "freeze") a VI if it's greedily eating either RAM or the CPU.

dude,
d
 






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