Question 1

What does a scoring mixer do?

Accepted Answer

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.

Question 2

How is film score mixing different from album or pop mixing?

Accepted Answer

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 the 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.

Question 3

Can you mix my score even if it was recorded elsewhere?

Accepted Answer

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, and other factors.

Question 4

Do you offer remote mixing?

Accepted Answer

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.

Question 5

What formats do you mix in?

Accepted Answer

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).

Question 6

How do I deliver my sessions for mixing?

Accepted Answer

Either as 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 if it makes the most sense for the project at hand.

Question 7

How long does it take to mix a film score?

Accepted Answer

On average, I mix around 10 minutes of score per day, depending on orchestration complexity, revisions, and deliverables.

Question 8

Do you record classical and acoustic music on location?

Accepted Answer

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.

Question 9

Do you offer Dolby Atmos for classical projects?

Accepted Answer

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.

Question 10

Do you work internationally?

Accepted Answer

Yes, I work with clients around the world, both remotely and onsite.

“Besides the obviously warm ambiance resonating with these players, the nice balance between salon intimacy and the often grand sweep of the music has been carefully maintained, doubtless attributable to engineer Mark Willsher.”

— Audiophile Audition

MUSIC MIXING & MASTERING

MUSIC PRODUCTION & ENGINEERING

SCORECRAFT (with Stephen Gallagher)