Discussion in 'Workflow Tips & DIYs' started by charlieclouser, Oct 8, 2017.
Thanks for your very detailed response.
Pure gold, thanks for your time Charlie!
Charlie, that was great. Thanks for sharing.
Talk a little about your studio set-up. What's your workflow like?
I do all my main composition, recording, and mixing inside Logic X on a Mac Pro cylinder, and output the results to as many as eight 5.1 stems which are routed via MADI over to a second Mac Pro running Pro Tools HD-Native, which is acting as a basic layback recorder. A third computer, a Mac Mini, is slaved to Logic via MTC and is running Video Slave software that I helped to develop. This takes the video playback load off of the main Logic machine and simplifies things a bit. I use MOTU 112d and 1248 AVB interfaces, along with a UAD Octo, on the Logic machine, and Avid MADI and SyncHD interfaces on the Pro Tools stem recorder. I repurposed a couple of older Mac Pro towers as orchestral slaves running Vienna Ensemble Pro, although I use these pretty rarely, and I do a fair bit of sound design and rhythm programming in Ableton Live and Reasonwhich run as ReWire slaves behind Logic. Tons of plugins, as you'd expect, ranging from the amazing UADstuff to more out-there stuff like Sinevibes and Audio Damage.
What are some essential pieces of gear that you need when scoring a horror movie/television show?
For me, the essential gear is anything that can really put the hurt on a signal, like my UBK Fatso and lots of guitar pedals, especially the Electro-Harmonix stuff. Their SuperEgo, Freeze, POG2 and Pitch Fork are recent favorites, and I still get a lot of use out of my Zvex pedals, MXR/Dunlop Hendrix fuzz, and of course the green Line6 delays, both pedal and rack.
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