Both of the new videos were made against countless odds: “In the 1970s” because of all the impossible ideas we wanted to make real, and “Felicity” because we had to find a place to shoot all 15 Baccis at the same time with essentially no budget. Thankfully due to my employment at Roulette Intermedium in Brooklyn, I was able to get a day there to shoot, and Chris Shields, a filmmaker/writer/musician who I’ve admired for years, was completely instrumental in making that video work as well as it did, considering that we filmed it in six hours by the skin of our teeth. It was Chris’ natural eye for dynamism and lighting that made it look so amazing, as well as the insane post-production he did which made it look like an old VHS copy of an Italian movie. My dream came true!
With overwhelmingly positive results, we’re happy to share a few select testimonials of Soundfly’s Beginner Harmonic Theory course directly from our students.
Continue reading “Hungry for music charity rating”
The theremin and sci-fi are like two peas in a pod. Once the instrument became available to purchase, build, and learn on a somewhat wider scale, it was only a matter of time before it became the sound of the unknown in the world of sci-fi film scores. It sounds like a voice echoing out through space, like warbly electronic transmissions signaling an alien presence. Hermmann’s creative use of the instrument in this iconic score would go on to influence not only contemporary film composers like Danny Elfman, but also set the precedent for an entire genre of film which would blend score and sound design into one eery whole.
I tend to use a faster attack, but I’m not crushing those transients with a ton of compression, so I still keep the dynamics in my mix. If I found I was killing the transients too much and there was no excitement in my mix, I would probably make it a slower attack setting.
Continue reading “Violin scholarships for non music majors”