Modern recording techniques have come alarmingly far in just a few short years. I've had the pleasure of having several commercial recordings released, and my earliest days in the recording studio were spent amid the flutter of reel to reel tapes. Later, exciting 'improvements' like audio Betamax (yep, you read that right) and then digital media like ADATs came into play. Over the past couple of decades-plus, we've seen the advent of hard drive recording systems, with the ubiquitous use of bells and whistles like ProTools, which can make even amateurs (are you listening, Ashlee Simpson?) sound at least passable, what with pitch correction, WAV editing and the like. Casual listeners to modern day product might be quite surprised to see how a recording is assembled, and assembled is, for better or worse, the correct term. Even back in the days of analog recordings, it wasn't unusual for rhythm tracks to be laid down first, often with 'scratch'; vocals, and then for the vocalist to come in to take their final version at a later date. While editing was certainly a more involved procedure back in the day, tape editors became so facile with their 'archaic' medium that even syllables could be fairly seamlessly fixed for a final product. (Anyone wanting a good laugh should listen to John Barry's commentary on You Only Live Twice, where he details the editing lengths they had to go to get a final take of Nancy Sinatra's vocal on the title tune). However, as often as pop, rock and even Broadway cast recordings were 'assembled' in the halcyon days of the 1950's, 1960's and 1970's, even after the advent of hard drive recording, you could count on one genre to preserve at least a semblance of the 'live' ensemble experience, and that was of course classical music. Not anymore. Choral composers like Eric Whitacre have pioneered the idea of a 'virtual choir' where people separated by continents are able to 'join together' to sing via such media as YouTube. And now we are introduced to an 'assembled' orchestra under the 'virtual baton' of Alexander Golberg Jero. Jero brings sections in separately, and records them, often utilizing previous recordings as reference material. He then assembles the final product in the mixing room. It's an unusual approach for a genre as hopefully organic as classical music, and listeners' reactions may be colored by the knowledge that high tech wizardry has at least helped to craft the architecture of any given performance.
Each individual sound can have its unique location in 3-Dimensional Space. - Alexander Golberg Jero
Surround Music Mixes are produced for DTS-X and Dolby Atmos
Alexander Golberg Jero, the first winner of the world-famous First Surround Music Awards for Best New Surround Music Composition presented by United Entertainment in 2002 for the Technical and Artistic skills creating music in Surround Sound.
Alexander Golberg Jero in available as a consultant for Post Production services of Music, Video and Films.
The rate is $300 per hour, 7 hours minimum, the traveling and accommodation expenses must be paid upfront. The client will receive the rights to use Music Experience in 3-Dimensional Sound Reality Trademark in application to produced soundtrack or music content.
Available for Movie / Video Soundtracks and Music Content at the stable rate per project. (Surround Mixing can be provided at additional hourly rate)
For more info please contact firstname.lastname@example.org