Merry Christmas from Binary Recording Studio

Merry Christmas and a Happy New Year from us at Binary Recording Studio   Julia and Binary Bob

Tambo, A Tambourine Virtuoso Binary Recording Studio

 We are producing a tambourine only album, Why?  Because it has never has been done and now is the time. Spread the Love!  Binary Recording Studio.   Artist Mgt. Johnny Rave, Rocket Soul Production

When the music film score detracts the story?

 Music has been a part of film almost since the beginning of motion pictures. Music originally had a practical use: to keep the audience from talking and dull the sound of the noisy projector (Buchanan, 1974).

I have been doing alot of audio post for film and started to think about how music and silences are used to create emotion in film.  I read this piece that I want to share, by Michael Isaacson, Ph.D.

WHEN NO MUSIC IS BETTER!

By

Michael Isaacson, Ph.D.

After one asks the analytic questions why? where? and what music should be created for a scene? A final question should be is music needed at all? As creatively vital as knowing how to compose film music, is the understanding of when not to include it and let other elements carry the movie’s dramatic moment. There are ten circumstances when no music is better.

1. Before a lot of music.  If a chase or a heavily scored comedic or dramatic scene is about to occur, find a way of lightening the musical content in the scene preceding it. The

silence before this major cue will prepare the ear for the uniqueness of what is about to follow.

More importantly, as you are preparing the audience with silence, you are also reminding them that structurally a significant scene is about to take place.

2. After a lot of music.  Concomitantly, after an important scene with lots of music, an audience needs time to make meanings, take a breath and avoid information overload. Punctuate the import of the preceding music and the narrative elements that have just transpired by letting silence structurally work for at least the beginning of the scene that follows.

3. When neutral source ambience is enough.  When dramatic music is not needed let the FX people put in ambience rather than elevator music. Mindless needle drops serve to anesthetize an audience to music’s function and encourage them not to pay attention to important musical moments.

4. When sound effects aggressively compete.  Car screeches, artillery fire, explosions, et al. are loud traumatic sound events that do not need a musical overlay. They speak for themselves. No matter how mindful you are of the tessitura of the particular sound effect and feel you can add music in a contrasting register, it only serves to muddy things up. Far more creatively, use that sound effect as a non-musical rhythmic element in between the dramatic

music that bookends it. The result will be more organic.

5. When sound effects carry the moment.  A phone repeatedly ringing, an accelerating heart beat, or a close up of a burning fuse are all examples of a sound effect that is compelling and riveting all by itself. Trust that moment and eschew adding any additional music over it.

6. When words carry the moment.  A beautifully written speech performed by a talented actor with a compelling voice is about as good as it gets. There is no music that will make it better.

Leave that speech in the clear. Unless they are sung, it is annoying to actively listen to music

and words together. It is only when those vocal or literary elements are weak that directors mistakenly ask the composer for music to strengthen them; in truth, it usually does not.

7. When action carries the moment.  There are certain bits of business that are so visually compelling that music need not accompany them. Scoring a scene and then allowing silence

to punctuate these bits of business is a far more intelligent use of music as counterpoint to the

visual.

8. When a dramatic pause is required.  Another aspect of the previous idea is the use of the Grand Pause. It is an island of silence in a sea of music that uses negative space to

underscore a speech, action, or dramatic beat that has just occurred. It is a silent gasp, an unsounded meditative moment or a tacit recovery from a dramatic impact and often, the most dramatic music that you will not write.

9. When making a segue from one dramatic beat to another.  A corollary to the Grand Pause is the silence or “luft” you use in between dramatic beats. For example, instead of scoring a

scene right up to the next contrasting moment, try using a musical tacit to let a door close, a car drive away, or a closing reaction shot make the transition. It is the advocacy of the affect of less is more.

10.When Documentary reality is sought.  Finally, when a moment of stark Documentary reality is required music is not needed. Including music would either

turn it into melodrama or a Movietone Newsreel. In this case the visual action needs only a sound effect of a projector or some ambient crowd noise.

Remember that our music guides audiences in how to understand a movie by listening to the silences that surround it. Articulate your positive lines through the intelligent use of negative space and always let the visual, effects and dialogue tracks alone dictate your musical imperatives and the creative usage of silence.

Should I use temp music in my film for the composer?

Temp music, (which is some temporary music that represent your musical idea's used to communicate to composer) can be a wonderful tool in creating a roadmap that will allow you to communicate your musical vision with your composer.  This roadmap can easily convey the emotion and direction of a scene as well as the overall feel of your film. 

Where filmmakers often get into trouble is that they develop a case of loving their temp track.  Sometimes its hard to let go of a piece of music you’ve lived with for a long time.  As you create your temp score, be mindful of the fact that at some point you will need to let go of it.

Some composer's do not like having the temp track as a sample. They would rather get description, adjective's to explain what you hear in each section of the film ( fast moving to slow dark movement etc ....)

Trust your composer and let them do what they do best, you hired them for their creativity. Allow room for something new and fresh to be created. This is how the scores are born that we ultimately enjoy. Allow your score to become as unique and let the composer bring in some new idea’s.

This a group that offer music for independent films. http://www.konsonant.com/

Binary Recording Studio is a Audio / Video Production Company in Bellingham Wa.

Orignal Music for your film

Many independent film makers come to Binary Recording Studio for their post audio work with no idea what to do for music for their films.
I have composed music and have purchased music rights from major artist for my films,  example: ("Hungry like a Wolf" Duran Duran)  so I understand publishing rights etc..... But I really enjoy working with other composers for the idea's they bring into the project.  This is a website that can hook you up with some composers. http://scoreascore.com  I like how this site is laid out. It allows you to audition the composer with an example of your footage

   Binary Recording Studio a Audio/Video Production Company

Local Sightings Film Festival Seattle Screening "Ali and Paul"

We are pleased to be screening our new documentary "Ali and Paul" Oct 4th. 7pm. at the Nw Film Forum Local Sightings Film Festival. A very good selection of films that I am looking forward too.

Binary Recording Studio: Video and Audio Production House

Studio B at Binary Recording Studio

Studio B at Binary Recording Studio is a large 900 sq.ft space with 20 ft ceilings wired for audio and video. It is a remodeled dairy barn that has a great sound. We have been recording all types of large big band stuff to rock groups who want the big room sound. We have been doing alot of green screen video shoots in the space also.

Binary Recording Studio a audio / video production company. 360-647-2337

Binary Recording Studio production on new film "Kung Fu Joe"

Binary Recording Studio was the location sound and audio post facilities for this comedy film. This film was shot over 20 days, many locations and audio needs that covered many issues. The post audio for this film required lots of sound effects that give it a 1970’s sound. check it out Kung Fu Joe the Movie

Binary Recording Studio recording new CD for RISE AND SHINE

The band called Rise and Shine is in the studio working on their new CD. We have a short video of a warm up tune in the studio.

Rise and Shine, Bellingham WA. Band, at Binary Recording Studio

Binary Recording Studio, audio/ video productions

Binary Recording Studio, produces music videos

Binary Recording Studio, is providing music videos for the bands that are recording in the studio.

These are internet ready for bands to use them on their social network sites. It has worked out great with good feedback from all.

Audio/Video Production Binary Recording Studio

Binary Recording Studio, produces Comic Book Trailer

Binary Recording Studio is producing 4 comic book trailers for BlueWater Productions who is releasing the comic book series "The Claw and Fang"

Audio and Video Productions Binary Recording Studio

Binary Recording Studio, New film "Faces of Change"

Working on the edits for a new civil rights film, "Faces of Change" a film about the sit-ins in Oklahoma city in 1958. 13 children would go into cafes that were segregated and sit at the counters in protest of the Jim Crow law.

Binary Recording Studio

Binary Recording Studio, and the Winter Olympics

Binary Recording Studio is a audio/video production company with many film's etc... to its name over the 21 years in business. We have been ask to show a film we produced in 1989 on the Snowboarding culture in the Pacific NW called "Baked, MBHC". Transworld Snowboard mag. is putting the event on at the Winter Olympics in Vancouver B.C., Canada this February

Binary Recording Studio

Audio Post Production for New Film "Colors"

Working on a new film by Caleb Young called "Colors" I see alot of films come into the studio and this one is done well. We are working on the dialog with ADR , noise reduction, and Foley. Getting the right ambiance with the ADR is a art form in it self!

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