Join musician Chris Fafalios (Punchline, Another Cheetah, Pack) as he listens to different one hit wonders with a revolving door of guests (including his bandmates and/or people from bands that he has toured with). After listening to the back catalog of the week's artist, they decide if the artist is a one hit blunder (shouldn't have had any success) or brought the one hit thunder (deserved to be much bigger than they were).
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Inhalt bereitgestellt von Bobby Owsinski. Alle Podcast-Inhalte, einschließlich Episoden, Grafiken und Podcast-Beschreibungen, werden direkt von Bobby Owsinski oder seinem Podcast-Plattformpartner hochgeladen und bereitgestellt. Wenn Sie glauben, dass jemand Ihr urheberrechtlich geschütztes Werk ohne Ihre Erlaubnis nutzt, können Sie dem hier beschriebenen Verfahren folgen https://de.player.fm/legal.
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Episode 512 – Film Scoring Mixer Alan Meyerson, Possible TikTok Ban, And The Caesar’s Console
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Manage episode 411759287 series 2438962
Inhalt bereitgestellt von Bobby Owsinski. Alle Podcast-Inhalte, einschließlich Episoden, Grafiken und Podcast-Beschreibungen, werden direkt von Bobby Owsinski oder seinem Podcast-Plattformpartner hochgeladen und bereitgestellt. Wenn Sie glauben, dass jemand Ihr urheberrechtlich geschütztes Werk ohne Ihre Erlaubnis nutzt, können Sie dem hier beschriebenen Verfahren folgen https://de.player.fm/legal.
My guest this week is engineer Alan Meyerson, who many believe is the top scoring mixer in film today. With more than 200 credits, Alan has worked with leading film score composers like James Newton Howard, John Powell, Harry Gregson-Williams, and Danny Elfman, and has a particularly long-standing working relationship with the great Hans Zimmer that continues to this day. Alan’s credits as a scoring mixer include blockbuster movies like Man of Steel, Iron Man, the Pirates of the Caribbean series, Sherlock Holmes: A Game of Shadows, Inception, The Dark Knight, Kung-Fu Panda 1 & 2, Despicable Me 1 & 2, The Last Samurai, Gladiator, and Hannibal. In addition to this, he also has a number of music mixing credits that include Bryan Ferry, New Order, Etta James, and OMD. During our interview, Alan told me about being a part of the first wave of dance music, making the transition to film work, his approach to orchestral recording, why he isn’t into vintage microphones, how he tailors his reverbs, dealing with 750 tracks of orchestra, his adventures at Abbey Road, and much more. I spoke with Alan from his studio in Los Angeles. On the intro I looked at the possible TikTok ban in the United States, and the Caesar’s Palace console finds a new home with UA. var podscribeEmbedVars = { epId: 97908956, backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };
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301 Episoden
MP3•Episode-Home
Manage episode 411759287 series 2438962
Inhalt bereitgestellt von Bobby Owsinski. Alle Podcast-Inhalte, einschließlich Episoden, Grafiken und Podcast-Beschreibungen, werden direkt von Bobby Owsinski oder seinem Podcast-Plattformpartner hochgeladen und bereitgestellt. Wenn Sie glauben, dass jemand Ihr urheberrechtlich geschütztes Werk ohne Ihre Erlaubnis nutzt, können Sie dem hier beschriebenen Verfahren folgen https://de.player.fm/legal.
My guest this week is engineer Alan Meyerson, who many believe is the top scoring mixer in film today. With more than 200 credits, Alan has worked with leading film score composers like James Newton Howard, John Powell, Harry Gregson-Williams, and Danny Elfman, and has a particularly long-standing working relationship with the great Hans Zimmer that continues to this day. Alan’s credits as a scoring mixer include blockbuster movies like Man of Steel, Iron Man, the Pirates of the Caribbean series, Sherlock Holmes: A Game of Shadows, Inception, The Dark Knight, Kung-Fu Panda 1 & 2, Despicable Me 1 & 2, The Last Samurai, Gladiator, and Hannibal. In addition to this, he also has a number of music mixing credits that include Bryan Ferry, New Order, Etta James, and OMD. During our interview, Alan told me about being a part of the first wave of dance music, making the transition to film work, his approach to orchestral recording, why he isn’t into vintage microphones, how he tailors his reverbs, dealing with 750 tracks of orchestra, his adventures at Abbey Road, and much more. I spoke with Alan from his studio in Los Angeles. On the intro I looked at the possible TikTok ban in the United States, and the Caesar’s Palace console finds a new home with UA. var podscribeEmbedVars = { epId: 97908956, backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };
…
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301 Episoden
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