A rare pleasure


Its a rare pleasure to spend two weeks on the final mix of a beautiful film with these fine folk! If you had asked me what form the soundtrack to the film would have when I read the script 5+ months ago, I would not have predicted the final mix we just completed – really excellent work from everyone involved!

Its also a weird feeling waking up today & not having to worry about… anything!

As a composer I feel so much more vulnerable, than when I work as a sound designer and I came to realise its about the degree of subjectivity. As a sound designer there are many subjective moments & elements, depending on the film. But for a film score, it is entirely subjective and the more original the film, its style and the score, the more subjective it all becomes. Very happy to have finished the final mix without any emotional scars, and also happy to feel like I have learned as much in the last 5 months as I have in the last 5 years!

Can’t wait for the film to be released…

Detritus 396

▶ is it ethical to kick a robot?


▶ hearing a ripple in space time



▶ useful MW thread: best sounding software vocoder?



▶ Graham Dunning – Whale Attack


▶ help Jan Svankmajer make a new film


▶ I want to go here: sleepy Japanese town built inside an active volcano


▶ interesting read/listen of 3 composers work


▶ warning, title may contain clickbait: the loudest sound in the world would kill you on the spot


▶ interesting new plug: Frosting



*love this!

“All Blues” is a jazz composition by Miles Davis first appearing on the influential 1959 album Kind of Blue. It is a twelve-bar blues in 6/4; the chord sequence is that of a basic blues and made up entirely of 7th chords, with a ♭VI in the turnaround instead of just the usual V chord. In the song’s original key of G this chord is an E♭7. “All Blues” is a modal blues, meaning that the scale is a modal scale. In this case the 7th of the G major scale is flattened, so it is a mixolydian mode.[2]

A particularly distinctive feature of the piece is the bass line that repeats through the whole piece, except when a V or ♭VI chord is reached (the 9th and 10th bars of a chorus). Further, there is a harmonically similar vamp that is played by the horns (the two saxophones in the case of Kind of Blue) at the beginning and then (usually) continued by the piano under any solos that take place. Each chorus is usually separated by a four-bar vamp which acts as an introduction to the next solo/chorus.

While originally an instrumental piece and usually performed as such, lyrics were later written for it by Oscar Brown Jr.

Into the bokeh


Final mix is nearing its end… Bokeh courtesy of Sony a6300 + Zeiss Distagon wide open