POST PRODUCTION JOURNAL

My composer, Joel Goodman, and I have met several times to discuss the score. The first meetings were very general; the last were all about fine tuning the cues we had agreed on. The final step in the process was recording the music with live instruments. This is possible on our budget for two reasons: 1. Joel is not John Williams, or: we don't have a full classical orchestra; 2. Joel is an extremely resourceful fellow and found creative ways to stretch the meager funds allotted to him for recording and mixing.

One cost saving measure was recording the bass himself in his studio, eliminating the cost of a musician and then need to pay for third-party studio time. This worked so well, he also invited the guitar player to record in his studio. The remaining instruments (cello, shakuhatchi flute, accordion, vibes and percussion) were all recorded later in the week at Back Pocket studios on 20th Street.

I always think we can get away with an electronic score, but by the time Joel records all the different instruments and mixes the music I am always glad we recorded live. Even with the very sophisticated and real-sounding samples Joel works with, there is nothing like the actual instruments played by real human beings.

All of the musical elements are coming together nicely, and just in time for the sound mix.