FAQ
1. What does a scoring mixer do?
A scoring mixer balances, shapes, and enhances the recorded elements of a film score. This includes orchestral recordings, soloists, electronic elements, and more. The goal is to translate the composer’s intention into a cohesive, emotionally powerful mix that works both musically and technically for the cinema (as part of the overall soundtrack including dialogue and sound effects), and also standalone for the soundtrack album.
2. How is film score mixing different from album or pop mixing?
Film score mixing combines both classical and pop techniques with a sensitivity to the need to integrate with dialogue, sound design, and overall narrative. This includes mixing in parallel for both the film and soundtrack release, in surround/immersive and stereo. Deliverables include multichannel stems for the film’s re-recording mixers, as well as soundtrack album masters in multiple formats.
3. Can you mix my score even if it was recorded elsewhere?
Yes. I regularly mix projects recorded elsewhere. It is not uncommon for a project to be recorded remotely and even in multiple locations by a variety of engineers (depending on the music’s content, project budget, etc…)
4. Do you offer remote mixing?
Yes. Many film, TV, and game projects are mixed remotely. Deliverables, approvals, and revisions can all be handled online, and real-time review sessions are available with picture sync as needed.
5. What formats do you mix in?
Stereo, 5.1, 7.1, Dolby Atmos (ADM BWF), and Sony 360 Reality Audio. I also provide Apple Digital Masters deliverables and immersive mixes that meet UMG and Apple specifications. For film mixes I typically deliver a set of 7.1.2 stems (+ object tracks if applicable).
6. How do I deliver my sessions for mixing?
Either a Pro Tools session, or as a set of .wav audio files (if .wav files also include tempo maps and start timecode). Good documentation and labelling is key in either case. If delivering .wav files for a given cue/piece, all files should be the same length with the same start time (even if that means some files are 99% silence). I can also work from other DAW sessions as well if it makes the most sense for the project at hand.
7. How long does it take to mix a film score?
On average, I mix around 10 minutes of score per day, depending on orchestration complexity, revisions, and deliverables.
8. Do you record classical and acoustic music on location?
Yes. I record chamber groups, large ensembles, soloists, and contemporary classical works on location using high-resolution immersive techniques. I also produce, edit, mix, and master classical albums.
9. Do you offer Dolby Atmos for classical projects?
Absolutely, classical projects can greatly benefit from Dolby Atmos releases, which help remove the listener from their own environment and create the sense of being in the room with the artist — providing a greater sense of connection with the performance.
10. Do you work internationally?
Yes, I work with clients around the world, both remotely and onsite.