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Discussion Starter #21
I need to listen to that in my truck. I did already download it to my Amazon music collection, but have only listened to it in my car....
Yea it really is an amazing sounding record. The bass drum bass guitar tune and mix is flawless.?
 

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Another note I will share about the mix of this film was that all the music that was mixed into the movie was delivered to me in stereo. Obviously, because that was the original master recorded format. We were mixing the film to be delivered for distribution in a 5.1 discreet format. The producers wanted to present the music in 5.1 if possible. I used "Perfect Surround" (same as Andy is using in his processor) to perform the up-mixing duties. I had Dave Grohl sitting at the mixing console in the "sweet spot" A/B-ing between stereo and Up-mixed 5.1. He told me other than the introduction of the surround information he could not tell the difference. This is a testament to how accurately Perfect Surround is at recreating the original front stage from a 2-channel L-R to 3-channel LCR. This is the reason I use this up-mixer for all the motion picture mixes I do where up-mixing of the original 2-channel music is required.
 

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Discussion Starter #26
I mixed this documentary for Dave Grohl. Very interesting guy. The movie is a must see for any young musician today.
Oh way cool man!!! ??
They made mention of an early NEVE console in that Doc. I believe Fleetwood Mac used it early in their carreer.
 

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Discussion Starter #27
Another note I will share about the mix of this film was that all the music that was mixed into the movie was delivered to me in stereo. Obviously, because that was the original master recorded format. We were mixing the film to be delivered for distribution in a 5.1 discreet format. The producers wanted to present the music in 5.1 if possible. I used "Perfect Surround" (same as Andy is using in his processor) to perform the up-mixing duties. I had Dave Grohl sitting at the mixing console in the "sweet spot" A/B-ing between stereo and Up-mixed 5.1. He told me other than the introduction of the surround information he could not tell the difference. This is a testament to how accurately Perfect Surround is at recreating the original front stage from a 2-channel L-R to 3-channel LCR. This is the reason I use this up-mixer for all the motion picture mixes I do where up-mixing of the original 2-channel music is required.
Thats really awesome dude. ???
 

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Another note I will share about the mix of this film was that all the music that was mixed into the movie was delivered to me in stereo. Obviously, because that was the original master recorded format. We were mixing the film to be delivered for distribution in a 5.1 discreet format. The producers wanted to present the music in 5.1 if possible. I used "Perfect Surround" (same as Andy is using in his processor) to perform the up-mixing duties. I had Dave Grohl sitting at the mixing console in the "sweet spot" A/B-ing between stereo and Up-mixed 5.1. He told me other than the introduction of the surround information he could not tell the difference. This is a testament to how accurately Perfect Surround is at recreating the original front stage from a 2-channel L-R to 3-channel LCR. This is the reason I use this up-mixer for all the motion picture mixes I do where up-mixing of the original 2-channel music is required.
Great insight, Gary. Thanks.

Was all of the music already converted/transferred and delivered to you in 24/96 digital multitrack format, or did you receive some or all of the original individual analog R2R master tapes and convert them at Skywalker Sound with your tape machines and AD converters? I'm just guessing that digital multitrack masters were supplied to you by the respective labels/owners of the masters, but just curious?

And if you don't mind answering, what DAW do you work in and with what AD/DA converters for either 2ch or 5.1+ formats?

Thanks again. Very cool info. (y)

As a side note, I worked as a film Color Timer back in the early 90's at Foto-Kem/Foto-Tronics. New Line Films was one of my more regular clients at the time...The Mask, Dumb & Dumber, Teenage Mutant Ninja Turtles, Gettysburg...etc. We were constantly upgrading/remodeling the screening & Telecine rooms to keep up with all of the new digital sound formats in that era, DTS, etc.

Good times, but had to make the decision to bail for my own health and sanity. I was honestly becoming a Zombie from spending way too much time in dark screening rooms, and then working the rest of the daylight hours on all of the answer print and some release print corrections in my dark office 10-14 hour days & 6-7 days a week. The money was great, but became a moot point since I had no time or "life" to enjoy it! Let's just say, "I don't miss it!", haha.

I also lived with a girlfriend in Malibu just down the road from Mic Fleetwood for a while...some fun and interesting parties going on at his place for sure, haha. Anyhow....
 

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Great insight, Gary. Thanks.

Was all of the music already converted/transferred and delivered to you in 24/96 digital multitrack format, or did you receive some or all of the original individual analog R2R master tapes and convert them at Skywalker Sound with your tape machines and AD converters? I'm just guessing that digital multitrack masters were supplied to you by the respective labels/owners of the masters, but just curious?

And if you don't mind answering, what DAW do you work in and with what AD/DA converters for either 2ch or 5.1+ formats?

Thanks again. Very cool info. (y)

As a side note, I worked as a film Color Timer back in the early 90's at Foto-Kem/Foto-Tronics. New Line Films was one of my more regular clients at the time...The Mask, Dumb & Dumber, Teenage Mutant Ninja Turtles, Gettysburg...etc. We were constantly upgrading/remodeling the screening & Telecine rooms to keep up with all of the new digital sound formats in that era, DTS, etc.

Good times, but had to make the decision to bail for my own health and sanity. I was honesly becoming a Zombie from spending way too much time in dark screening rooms, and then working the rest of the daylight hours on all of the answer print and some release print corrections in my dark office 10-14 hour days & 6-7 days a week. The money was great, but became a moot point since I had no time or "life" to enjoy it! Let's just say, "I don't miss it!", haha.

I also lived with a girlfriend in Malibu just down the road from Mic Fleetwood for a while...some fun and interesting parties going on at his place for sure, haha. Anyhow....
The DAW of choice in the film industry is Pro Tools by far. The reason it has come to pass, I believe, is that some where along the way and I am not sure exactly what year it was but Pro Tools went 32bit/floating point internally. That was it, the music industry worldwide now had their unlimited dynamic range digital multitrack recorder. And they could manipulate it endlessly . All other competition was now left in the dust. I seriously don’t know of any manufacture trying to compete with Pro Tools. The downside of that for the industry is that when you have no competition you have very little innovation and development.

As far as Sound City is concerned they went back to the two track analog masters as much as they possibly could and transferred that into ProTools. If the original stereo master was digital that was just a straight transfer. I did not work from any original multi-track masters. Who and where that process happened was not in my purview. You’d be shocked at how much stuff as far as original masters gets lost over time. Typically we operate ProTools and 24-bit 48K. Running at 24 FPS. This is pretty much the motion picture standard. Since were mixing with a digital console, it’s digital throughout.

I understand what you mean by being in the dark most of your life. I have another five years and then I’m out. I plan to retire in Thailand. I currently have a house in Chiang Mai which I am sitting in right now. When I return to the USA at the end of this month, we will begin the mix of Top Gun/Maverick at Skywalker Sound. I will be in the dark till June. :cool:
 

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When I got a DVD-Audio player years ago, I got my wife to buy me Rumors on DVD-A for Christmas. I wasn't even a big Fleetwood Mac fan, but there wasn't a lot to choose from then. But it turned out that I liked several of the songs on that disc, and not just the ones I already knew.
 

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When I got a DVD-Audio player years ago, I got my wife to buy me Rumors on DVD-A for Christmas. I wasn't even a big Fleetwood Mac fan, but there wasn't a lot to choose from then. But it turned out that I liked several of the songs on that disc, and not just the ones I already knew.
Nice! Do you still have that Rumours DVD-A disc? I'd like to rent it from you. :p I have a program/DAW to rip/convert DVD-A discs. :) I could trade you for some other great Hi-Res music that you might like. ;)
 
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