Introduction
Introduction
Bruce Everett

Music & Studios
Michael Kamen
• Michael Price
Mike Higham
Steve McLaughlin
The Studios

Shepperton
Trevor Griffin
Mike Dowson & Mark Taylor

Editors
Campbell Askew
James Boyle
Derek Trigg
Paul Conway
Howard Halsall
Bobby Gavin
Cherry Brewer
Steve Mayer

GearBox
Richard & Niv
Field Equipment

Full brochure
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Michael Price - Co-Producer



Michael Price and James Brett have been composer Michael Kamen's co-producers for the last five years. Band Of Brothers became one of the biggest projects for them, being almost a year from the first meeting to the final session. Most of the score was orchestral which was needed to keep in with the period. Usually Michael and James would be busy creating synth beds which feature in a Kamen score but this time their roles were as orchestral producers, Michael Price: "We started with the original spotting sessions with Michael and the producer Tony To where we would take notes, then we would help Michael work through the cues. Band Of Brothers doesn't have very much music in it compared with TV miniseries because they were aiming for a greater sense of realism, which I think they achieved.

"So when the music had been written we would then start to gear up for the studio sessions. We used Abbey Road, AIR and Whitfield Street as our three major studios. Each session we had an orchestra with an average size of 40-45 players, although we did a couple of sessions at Watford in the new CTS Studios, where we had a bigger 75-piece orchestra to record some trailers. We would usually put the sessions together with about one week's notice for GearBox and the studios to deal with. I would usually book the studio time and also call Richard at GearBox. We would sometimes give them as little as two or three day's notice which didn't seem to faze them which was quite cool!"



"We tend to hire a Pro Tools rig, but with Digital Performer as the front-end, because both Michael Kamen and his engineer, Steve McLaughlin, are very comfortable with the software, and it meant that we could actually have our original MIDI version of the cue in Performer. We could also have the real orchestra and if necessary we could compare the two if we needed to change anything or weren't happy. Steve also uses Digital Performer at home, so he could take the removable drives from the session to his own studio and mix them there."

All the sessions were recorded straight to Pro Tools, with Tascam DTRS or Sony 3348 back up. This saved a lot of transfer time and meant sessions could be moved around more quickly, and be made available to take away to home studios. There were usually two Pro Tools rigs on the sessions: "We would have a record rig, which would always be spec'd up to be Pro Tools hardware, so would either be 888/24s, or Apogee AD8000s, depending on what we were doing and where we were. We would also have a Digital Performer rig that we'd use to mix on if necessary, which would have MOTU rather than Digidesign hardware.

"GearBox are now our only supplier of these things, in terms of Michael Kamen's company. In a sense I think the transition to them has been very smooth, and I think this project has been the one that has cemented our relationship. This is the first project where we’ve moved completely to hard disk recording at the front end, rather than recording to 3348s. Consequently, because that’s your front-end, you need it to work at its best all the time."

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Michael Kamen