Discussion in 'ARTISTS INTERVIEWS: VI Spotlight' started by fiestared, Apr 26, 2018.
Thanks for sharing this, very cool...always loved his scores. The studio is both eerie and beautifully haunting.
Also, glad to see I'm not the only one who has no acoustic treatment in their studio!
Yep, no sound proofing in there whatsoever
I've noticed a lot of the pros don't seem to have any acoustic treaments (JXL / HZ) etc.
JXL even said in an interview its done on purpose to not fool his ears by a too perfect studioish sound :D
I guess with the amount of stuff laying everywhere in the studio he didnt have too much problems with reflections anyway :D
Which is exactly why I never bought into the notion of having a treated room if you're only using VI's
To be honest Im quite scpetic about this since in my opinion a good mix in a well treated room should translate well to any listening scenario.
Ahem, my point of course being that while no acoustic panels were around in that room, there was plenty of other stuff going on for sound absorption and scattering. This all depends on the room you are in and how loud you listen while you work, but certainly, some kind of acoustic treatment is beneficial. What happens otherwise is that you learn to mix in that particular room - just like you get used to your headphones or speakers after a while and start compensating for their shortcomings/color. But that is hardly ideal. Though most of our environments are likely not ideal anyway.
Also, these guys are composing. Someone else is doing the mixing, somewhere else.
When it comes to room acoustics, VIs = real musicians, and real musicians = VIs. There is no difference there.
Composers generally do not have room treatment, nor acoustically correct rooms, b/c they don't mix their own stuff, as DH alluded to. Therefore, it's really not necessary; the more important thing is that they are in an environment that they are comfortable in, and that is conducive to working. Some guys may put some effort into their room acoustics, but it's really more important for the guy doing the mixing to be in a proper acoustic environment.
His name will not be forgotten all the time.
I'm Genuinely upset even after 3 years that i'll never get the chance to attend a concert with this man conducting, or even meet him at a fan where i can tell him how great he is.
Life is stupid and unfairly short folks...please don't give up on your dreams
Sure, but I've seen a lot of composers with untreated rooms who are mixing their own stuff (not at Horner's level, mind you). I guess it all comes down to knowing your room.
I'm also genuinely upset because the guy was having a creative return after 3 years of scoring nothing.. He did a great score for Wolf Totem , was about to score Mel Gibson's Hacksaw Ridge, Avatar 2....
This is pretty extraordinary -- was this really his work space? How anybody could work among all that clutter is completely beyond me. I thought Zimmer's Viennese brothel was unique, but this is something else.
The only other peek I've seen of Horner's studio is from this German TV spot from 1986 -- 'peak Horner', IMO, just after Cocoon and Aliens, and as he was writing An American Tale, but you can see it's basically the same space, minus the toys and with a lot of synthesisers that Horner later got rid of.
More like James Hoarder, right?
Reading the article I found myself wondering why only one of Horner's two daughters were mentioned.
I was shocked to read elsewhere (the article appears genuine) that Horner's other daughter, Rebecca, died last year, barely two years after her father's death.
What a cruel and tragic time for a family.
But why is this stuff public? Of course, a famous A-List composer's passing is going to be news, but is it really necessary that the media tell the rest of us what is happening with his trust? Why is that anyone's business?
Seeing Apollo 13 (when I was eight!) was one of the first times I can remember understanding the magic that music adds to movies. Fantastic composer, a really sad loss.
Separate names with a comma.