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Music Producers at Crash Symphony Productions
Our professional Music Producers at Crash Symphony Productions can help you bring your sound production to life. If you’re looking to record a song, EP, or a full-length album and need help with musical composition, industry-standard mixing or sourcing the right sound engineering equipment, our team of audio engineers and music producers at Crash Symphony Productions can assist you with your project management and sound production needs.
Our music producers have created hundreds of songs, albums, and EP’s in their many decades of career experience working with some of the best in the music business, big-name Australian artists like pop singer Alex Gibson (Finalist of The Voice) and hip hop artists OneFour.
There are numerous ways our music producers approach music production. For example, it can be a short recording session with a vocalist. Or it can be a complex choir arrangement backed by a symphony orchestra. A single vocalist will require more guidance from their music producer but less pre-production planning due to their simple set up. On the other hand, an ensemble will need more pre-production planning from its music producer, as more people and instruments are involved in the recording session.
Before we get to work, we like to meet our clients in our recording studio in Sydney to discuss your music production details before recording sessions are underway. This is very important, as you will meet record producers to discuss your artistic vision for your music production. Record producers and music producers are in charge of project management for music productions. They organise everything from musicians needed, to rehearsal schedules, as well as a marketing plans for your music and a time frame, all based on your budget.
When you have a music producer who knows how to properly manage your recording sessions, you will save more time and money on your project as you will require less studio time. In addition, the musicians will know what they are playing, and less time will be spent on editing and mixing errors in the performance.
If you would like specific instruments in your sound production but don’t know how to play them, we have options available for you.
We can organise a musician of your particular style to come into a recording session for your music production. Our music producers; James Englund and Stewart Havill, are skilled musicians themselves. Stewart Havill has played the piano and drums for over 30 years in numerous bands. James Englund plays guitar, bass, drums, piano, saxophone and is a professional singer.
James Englund and Stewart Havill have decades of experience in music production project management. They are confident in their abilities to help you with the complex decisions needed in the process of music production.
Expert Sound Engineers
Working with us means working with the best sound engineers in Sydney
The art of being an excellent sound engineer is not as prominent now that video has become the focus of our world. However, a top quality sound engineer can augment the quality of a production dramatically. When we record a vocal for music or a voice over for an ad we have the ability to enhance every aspect of that recording. The modern tools available to the twenty-first century sound engineer are truly remarkable. Staying on top of the rapid progress is very much a full time job. Let's take a quick look at what work is involved in producing an excellent vocal recording for a typical voice over job.
Our sound engineer will setup the session prior to the talent arriving. In the most extreme cases, often film ADR sessions, the project and microphones will need to be prepared first. Our clients, from film productions companies, are often located in another country like the USA, the UK, or somewhere in Europe. They will send the sound engineer the program material. This will be the video files with SMPTE timecode, the cue sheet, and all specifications required by our sound engineer to capture a similar sound to what was recorded on set.
Once these program elements are received our sound engineer in Sydney will go into Pro Tools and mark out all the cue points on the timeline of the film. Each entry point will have ADR beeps that will help the talent execute their lines in Synch with the film. In ADR the talent's job will be to lip synch in time with their delivery on set. By setting up the project prior to the talent arriving our sound engineer ensures that the session flows smoothly for the talent.
Often these "remote sessions" (where the directors and producers are overseas) are facilitated by software that helps us communicate with the overseas studios. Programs like Zoom and Source-Connect allow sound engineers in both locations to be actively involved in the session. The sound engineer overseas can literally press the recording button in one country and our software will obey the command here in Sydney. The directors and producers can watch the video content on their screen whilst listening to the audio being recorded by our sound engineers in Sydney. It's real-time. It's the modern way. It's remarkable!
In this example, an ADR recording session, the sound engineer would also need to setup two microphones. One would be a lapel mic, similar to what might have been used on set, and the other a shotgun microphone. These two microphones are setup by our sound engineer in Sydney in front of a screen. This is to allow the talent to clearly view the film as they are performing. An iPad is also positioned in close proximity to the microphones. This will have all the cue points and lines that the talent will be reading during the ADR recording session.
During the session the sound engineer will be facilitating the smooth capture of cue lines. They make sure that all the takes of each line are saved for future recall and re-listening, and can even cut recorded takes together to create a composite "best take".
Once the ADR session is complete the post-production work on the re-recorded lines begins. The amount of work that goes into the audio post-production is beyond the scope of this example. However, we can give a few examples of the kind of technology our sound engineer might decide to use on the recorded cue lines. There is software to reduce lip and mouth noises. Harsh sibilant frequency can be curtailed. The synch of the spoken lines can be further tightened by intelligent algorithms that look at the original "on set" spoken audio and literally stretch, cut, and compress lines recorded in our Sydney recording studio and make them even tighter. The list of tasks, options, and enhancements that our sound engineer can apply to a voice recording is enormous.
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