Preparar la mezcla: personas y proceso
Lesson time: (7min 34sec)
Goetz Botzenhardt repasa lo que hay que resolver antes de mezclar la banda sonora de una película: alinearte con el compositor, elaborar un cue sheet, identificar tus stems y cómo entregar para el dub.
Course preview
This lesson is part of the course Mezcla para bandas sonoras de cine y TV
Watch a preview of the full course below.
Lesson transcript:
Mixing a Film Score: Preparation and Key Insights
Introduction
Welcome to the first part of our tutorial on how to mix a film score. Let's begin with your preparation.
Understanding Your Goals
Before you even load anything into Pro Tools, it's essential to think about what you want to achieve. This largely involves:
- Meetings with the Composer or Director: Engage in discussions about:
- The concept of the film
- The aesthetics of the film
- How the music will complement the visual elements
It's crucial to have a clear vision in your mind before you start mixing.
Working with the Composer
The composer is your most important collaborator. Their involvement can vary:
- They might attend the mixing sessions throughout the process.
- They may come in after you've mixed a few cues for reviews.
Your Role:
- Respect the composer's vision and expectations.
- Assist them in achieving their goals.
- Remember, you're the composer's right-hand man.
Teamwork in Film Production
Mixing a film score is a team effort involving:
- Composers
- Musicians
- Arrangers
Key Points:
- Be a team player; there's little room for ego.
- Collaboration is vital in achieving the best sound.
Cue Overview
Discussing cues with the composer or director is essential. Each piece of music is called a "cue," which can vary greatly:
- Length: Ranges from a few seconds to several minutes.
Tips:
- Create a list of how many cues there are.
- Identify key cues that feature the most important music, often played in scenes with minimal dialogue or sound effects.
Focus on these key cues first, as mastering their sound will set the tone for the rest of your mixing.
Understanding Stems
Stems are submixes of different groups of instruments. When finishing mixes, you will:
- Print the final mix in 5.1 surround or stereo.
- Print separate groups to allow for future adjustments.
Why Stems Matter:
- Stems enable music editors to make changes (e.g., removing drums) without returning to the original mix.
- A growing expectation in the industry is for you to provide stems.
Action Steps:
- Consult with the composer and possibly the director to determine the number and types of stems needed.
- Typically, you might have 5 stems, such as:
- Strings
- Percussion
- Solos
- Synthesizers or drones
- Sound effects
Delivery Format
Finally, confirm the format for delivering the session:
- Ensure the sample rate is correct.
- Have a dialogue with the dubbing team to confirm their expectations.
Recap of Key Points
- Talk to the Composer: Discuss the overall sound and your goals.
- Overview of Cues: Make a cue sheet listing all cues.
- Identify Key Cues: Focus on the order of mixing.
- Work Out Stems: Determine how many you need and what their groups will be.
- Delivery Specifications: Confirm how the session should be delivered to the dubbing team.
Let's get started with mixing!
About the instructor

A principios de los años noventa, Goetz Botzenhardt se formó en los Swanyard Recording Studios, asistiendo a productores de primer nivel como Flood, Alan Moulder y Tom Lord-Alge, y se curtió grabando y mezclando a las bandas de dance y acid jazz de los 90: Incognito, Galliano, Soul II Soul y muchas otras.En Swanyard conoció a Rollo Armstrong y ambos formaron rápidamente una asociación creativa que dio lugar a muchos grandes discos de dance y remezclas y, poco después, a la grabación y mezcla de los dos primeros y aclamados álbumes de Faithless y del multiplatino 'No Angel' de Dido.Moviéndose entre géneros, grabó y mezcló el álbum debut de las Sugababes, 'One Touch', incluido su primer éxito 'Overload', y ha mezclado para The Cardigans, Bjork, The Cinematic Orchestra, Craig David, los Pet Shop Boys e Hikaru Utada, una de las artistas de más éxito de Japón.Más recientemente ha ampliado su trabajo al cine y la televisión, colaborando ampliamente con los compositores Christian Henson, Martin Phipps y Anne Nikitin, y mezclando la banda sonora de Daniel Pemberton, nominada a los Globos de Oro, para 'Steve Jobs', dirigida por Danny Boyle. Al margen del cine, produjo 'Closer to the People' de Tanita Tikaram, mezcló temas para Sigala, Ella Eyre, Breton, Planet Funk y Tito Jackson, y en 2016 mezcló el álbum de Peabo Bryson con Jimmy Jam y Terry Lewis. Una lista completa de su trabajo está en sus páginas de discografía y filmografía en goetz-botzenhardt.com.Goetz trabaja desde su propio estudio y sala de mezcla, construidos en torno a una consola SSL E4044, monitorización surround Adam 5.1, un sistema Pro Tools HDX de 48 canales y equipo outboard selecto. En sus cursos te lleva al interior de esa sala para mostrar cómo mezcla en dos mundos muy distintos: en Mixing for Film & TV Score, cómo equilibra y da forma a bandas sonoras orquestales e híbridas al servicio de la imagen; y en Mixing Commercial Pop Music, cómo construye mezclas de pop contundentes y listas para la radio desde la multipista. read more




