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How the Maestro Sound Team Recorded Recorded Live


How the Maestro Sound Team Recorded Recorded Live - TheWrap

The sound team behind Bradley Cooper's Netflix film Maestro explain how they recorded and captured both concerts and parties live on set.

How the 'Maestro' Sound Team Recorded Concerts and Party ...

All of the instruments were “saturated with microphones,” Morrow explains, and then the concert's audio was carefully mixed in post-production.

How the 'Maestro' Sound Team Recorded Concerts and Party ...

"Bradley Cooper's vision was always to get it live," says a sound mixer. "The challenge is: How do you do that?" The post How the 'Maestro' ...

Past Production: How the 'Maestro' Team Recreated the Music

The filmmakers partnered with classical recording engineers at a company called Classic Sound. “I said, 'Have you recorded anything at Ely?' And ...

How the 'Maestro' Sound Team Recorded Concerts and Party ... - MSN

"Bradley Cooper's vision was always to get it live," says a sound mixer. "The challenge is: How do you do that?" The post How the 'Maestro' Sound Team ...

Maestro: Sound Breakdown | Netflix - YouTube

The dynamic sound team behind the film Maestro discuss the live recording of Mahler's Second at Ely Cathedral in London.

Watch 'Maestro' Party Scene, How They Captured the Sound - Variety

Oscar-nominated sound mixer Steve Morrow explains how he used 22 microphones to capture 'Maestro's' Dakota Building party scene.

Multiple mikes, live orchestras. 'Maestro' sound team gets it done

Two men stand in a work space with "Maestro" on a screen behind them. For the sake of authenticity, re-recording mixer Tom Ozanich and on-set ...

'It Was Like A Star Is Born on Steroids': Behind the Sound of 'Maestro ...

' Tom, Dean, and Jason were able to bring that to that film, and we want to recreate that for Maestro. Let's try to record this stuff level.

Production Sound Mixer Steve Morrow Captures ... - ProSoundWeb

Some of the kit, including numerous Lectrosonics components, utilized by production sound mixer Steve Morrow in his work on "Maestro." ...

Soundtrack: The Oscar-nominated team behind Netflix's Maestro ...

Supervising music editor Jason Ruder says the team started planning their recording process back in 2019. “Bradley always had the vision to ...

The Oscar-Nominated Sound Team Behind Bradley Cooper's Maestro

... recorded live on set — including that unforgettable concert at Ely Cathedral: “We shot for the first day and, in Bradley's words, he was ...

SoundWorks Collection | Maestro: Sound Breakdown - Instagram

Maestro: Sound Breakdown - The dynamic sound team behind the film Maestro discuss the live recording of Mahler's Second at Ely Cathedral in London.

Speaking of recorded lies & stuff... - Maestronet Forums

Yep, the syndicated broadcasts you hear on NPR are the real deal. The sound engineers work their magic and all but what you hear is the actual ...

Steve Morrow Is a “Maestro”of Mixing with Lectrosonics

“The London Symphony Orchestra brought in their recording team called Classic Sound. ... We recorded all the music performances live — the one ...

Bradley Cooper reveals why no ADR was needed for 'Maestro'

For Ely, we had the London Symphony Orchestra, who brought in their recording team called Classic Sound. They totally got that delivery was going to be in Dolby ...

Maestro: Crafting the Sound | Netflix - YouTube

Writer, Director and Actor Bradley Cooper discusses the incredible sound of the film Maestro alongside Production Sound Mixer Steve Morrow, ...

Maestro: Sound Breakdown–SoundWorks Collection - Apple Podcasts

The dynamic sound team behind the film Maestro discuss the live recording of Mahler's Second at Ely Cathedral in London. Production Sound ...

Behind The Refined Mix Of 'Maestro' – With Tom Ozanich And Dean ...

Re-recording mixers Tom Ozanich and Dean Zupancic discuss their Oscar-nominated mix on Bradley Cooper's 'Maestro' – from mixing big, ...

“Maestro” Oscar-Nominated Re-Recording Mixers on Building ...

"Maestro" re-recording mixers Dean Zupancic and Tom Ozanich on the sound department's supercharged focus on rhythm throughout the edit.