The Village: Trust No One (Other than The Village) to Mix X-Files Film Soundtrack
West Los Angeles, CA. When superhot soundtrack music composer Mark Snow (X-Files, Millennium, Hart to Hart) and veteran engineer Larold Rebhun needed a room to mix the six track surround music for the much-awaited X-Files film, they chose Studio D at The Village.
Snow, who amasses "Most Performed Music" awards every year from ASCAP for his prolific work on series television, generally composes and mixes at his own home studio where his primary instrument is a Synclavier, but the expanded scope of the X-Files film sound and the addition of an 85-piece orchestra to the score made working at a larger facility a necessity.
Rebhun, Snow's regular engineer whose 28 years of music engineering experience includes projects for Billy and the Beaters, John Cougar Mellencamp and Pee Wee's Playhouse, had previously done several projects at The Village, and realized that the multiroom complex, located in West L.A. and the site of film music mixes for Quest for Camelot, Mulan, Good Will Hunting, Phenomenon, Con Air and Shawshank Redemption, was a logical choice for the project, both because of its convenient location and because of Studio D's Neve VLR-SP console which is fitted with a Neve center section film module.
"We recorded the Synclavier sounds to DA88s at Mark's home studio,"
explains Rebhun. "Normally, for television, I mix all the synth sounds
to a stereo pair of tracks, but because for the film we were mixing for
surround I kept everything separate, and instead of using my usual reverbs
in the stereo mix I kept things dry. We transferred our original tracks
from DA88 to Sony 3348 for the orchestra recording and then stayed on
3348 for mixing.
Rebhun made use of Studio D's live chamber to enhance his surround mixes.
"One very cool thing about Studio D at The Village", he comments, "is
that there is a live chamber behind the drum wall, which really added
a nice ambiance. I placed four mics in there, put a 40 MS delay on the
rear mics, and used that delayed signal in the rear surround speakers.
That natural ambiance worked especially well on the synth material, giving
it real, adjustable acoustic room ambiance that blended beautifully with
the live orchestra it was a great combination for the surround sound.
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