Issue link: https://digital.copcomm.com/i/1535806
AM: Well, I mixed it in my house! It was one of those scores and Kris [Bowers—composer] likes coming here. The recording took place in London. I actually didn't go, but I had a particular setup that I wanted to do. I've sort of been on this journey with immersive recording to try to expand upon what a film score sounds like. So, we had this immersive array set up that was specific to what I asked for, and then all of the… Was that at AIR? AM: It was at AIR, but the percussion stuff was recorded in New York at Berkeley Power Station. The concept with this was that the percussion was almost Foley. Kris had this idea that he wanted to have an ASMR Alan Meyerson CAS percussion layer. There's something about it that changes how you respond to things. So, we wanted to have it operate on this grand orchestral scale with the ASMR sitting on top of it, but slightly separate from it. It took a lot of experimentation to get that to work. What ended up happening was I had them record all these big room spaces and stuff like that. [But] I ended up turning all of that off and looked for the closest microphones I could and did some processing on them, using harmonic type stuff [or] whatever it was for the particular moment, so I could get it all with no reverb, closer and closer. Kris wrote that layer to be, sort of, the animals scurrying around. The Egg and the Fox cue is probably the area where you would hear it the most. LL: There's an effect that Alan does in the egg scenes, and Kris and I talked about it. It's so cool because if you take all the sound design away, it's like an early Looney Tunes where the orchestra is the sound design. There is an aspect of that, and for us to get to play with that, and against it, and blending it. You really don't know where the score ends, and the sound design starts. That's where it's so special to me. Well, it is special and it's an amazing film to listen to! Congrats again on your win, and thanks for chatting about it.