Film Music Scoring using a Digital Audio Workstation

Ellis-Geiger R. Film Music Scoring using a Digital Audio Workstation. In: AES Convention 118. Audio Engineering Society; 2005. Paper 6388. Available from: https://aes.org/publications/elibrary-page/?id=13104

@inproceedings{EllisGeiger2005_13104,
  author = {Ellis-Geiger, Robert},
  title = {{Film Music Scoring using a Digital Audio Workstation}},
  booktitle = {AES Convention 118},
  note = {Paper 6388},
  year = {2005},
  month = may,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=13104}
}

TY  - CPAPER
TI  - Film Music Scoring using a Digital Audio Workstation
AU  - Ellis-Geiger, Robert
T2  - AES Convention 118
M1  - Paper 6388
PY  - 2005
DA  - 2005/05/06
UR  - https://aes.org/publications/elibrary-page/?id=13104
PB  - Audio Engineering Society
LA  - en
AB  - Historically film composers have always complained about how much of their music is frequently lost during the dubbing process, as a result of it being blended or overridden by sound effects and dialogue. There is also a lot of contention over the way temporary music is selected and used within film production in general. This paper will discuss the following positions: 1. The notion that Hollywood film making still largely resembles the Henry Ford “Moving Assembly Line” model. 2. Within the last ten years Hollywood film making has been significantly influenced by the integrated use of music and sound technology. 3. The genre is clearly in a new phase/period where films are being more progressively produced as integrated art forms. Never before has there been such a strong movement by film makers (and agents of the film team) towards supporting an integrative approach in their use of music, sound, voice, text and image.
ER  -