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over 2 years
ago -
Bloodhunt
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Transcript (by Youtube)
| 0s | foreign |
|---|---|
| 2s | [Music] |
| 5s | [Applause] |
| 5s | [Music] |
| 9s | ER of the original score of bloodhand |
| 12s | I'm extremely happy to announce that the |
| 14s | soundtrack have been working for the |
| 15s | past few years has been finally released |
| 17s | by distinguished record label from the |
| 19s | UK latest records and it's available now |
| 23s | online in many different formats |
| 25s | including Dolby Atmos |
| 37s | foreign |
| 48s | I'm recording and mixing all the sounds |
| 51s | I really enjoy playing around with |
| 53s | different instruments and quite often |
| 55s | using my own techniques for playing and |
| 58s | recording |
| 59s | for getting the right sound for the |
| 61s | project |
| 63s | I was fascinated by the piano and the |
| 66s | Art of improvisation at a very early |
| 67s | stage |
| 68s | the ethnic world is also very familiar |
| 71s | for me and extremely inspiring |
| 73s | especially with Slavic and Balkan |
| 75s | influences which are my roots |
| 79s | despite classical background I'm kind of |
| 81s | experimental when it comes to the sound |
| 84s | from the instruments and some aristic |
| 87s | approach |
| 90s | which also applies to the soundtrack of |
| 92s | bloodhound |
| 97s | foreign |
| 110s | score after writing the main cues |
| 113s | we recorded orchestral and choir Parts |
| 117s | in four four studios in Sofia in |
| 120s | Bulgaria |
| 123s | we wanted to have music large cinematic |
| 126s | feel and for what that we felt it was |
| 129s | important to record it with real |
| 130s | musicians to capture the musical |
| 132s | resonance and energy that this brings I |
| 136s | explored several dams before settling |
| 138s | for more classical and orchestrated |
| 140s | sound with choirs and layers of dark |
| 143s | electronics and sound design |
| 145s | foreign |
| 147s | about classical orchestration is that it |
| 150s | gives music a Timeless sound |
| 153s | and it is a genre that continues to be |
| 156s | enjoyed regardless of the latest musical |
| 158s | trends |
| 160s | the soundtrack of Blackhand was mixed in |
| 162s | Dolby Atmos at DK mix studios in Warsaw |
| 166s | we spend a lot of time getting the the |
| 169s | right balance between the headphones and |
| 172s | multi-speaker Atmos mix which is very |
| 175s | important for me to have this translate |
| 178s | in all systems for the listener |
| 183s | and it was great challenge to mix music |
| 186s | in Atmos if you want to get something |
| 188s | more then simply enhancement of the |
| 191s | story or image of the sound |
| 193s | and if you want your mix to be |
| 195s | translated in a similar way into |
| 196s | consumer and professional multi-speakers |
| 198s | and systems |
| 200s | I wanted to recreate the mix in the real |
| 204s | space of the instrument placement during |
| 206s | our recording sessions in Sofia so in |
| 209s | that case we've been using a lot of |
| 210s | automation for the Dolby based objects a |
| 213s | lot of programming I think |
| 216s | Atmos makes its outstanding and I hope |
| 219s | you enjoy this immersive musical |
| 222s | experience as well we had during the |
| 225s | mixing process |
| 228s | working on bloodhound's car was a great |
| 231s | experience and I hope you're not only |
| 233s | enjoying playing it but also enjoy the |
| 235s | music I created for |