Mix Rescue: Kayle Clements
Article Preview :: Mixing & Recording Advice
Technique : Mixing
Programmed classical and film music demands convincing use of sample-based instruments. But how do you achieve this? Our engineer explains, as he takes on this month’s remix...
This month’s Mix Rescue submission was put together by SOS reader Kayle Clements in his Apple Logic-based home studio, pictured here.
Kayle Clements is an accomplished pianist who has already gained some experience of composing for classical ensembles, and is currently trying to break into writing for film, television and games. He recently contacted me for advice because he was having difficulty in achieving the kind of sound for his own sample-based media-music productions that he could hear on favourite commercial soundtracks by Thomas Newman, Danny Elfman and the like. While realistic about his chances of competing on the level of Hollywood’s A-list from a small home studio, he nonetheless felt that he should be able to get much closer to this lofty pinnacle than he had so far managed. However, he wasn’t sure how best to proceed.
Listening to the mix he’d submitted, it did seem to me that its potential had yet to be fully tapped. It was not without justification that Kayle had complained of a harshness to the sonics as a whole, and I felt that the mid-range lacked ‘stuffing’, somehow. The choice of reverb seemed rather unsuitable too, exhibiting an early‑reflections ‘slapback’ that was awkward on some of the shorter, more percussive notes. On top of those points, though, I felt that Kayle hadn’t taken full advantage of the orchestral forces at his disposal, and that some added layers in the arrangement might do a great deal to fill out the texture.
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Wed 23 May 2012
Sound On Sound : Est. 1985