As a newer film composer with a couple payed film projects under my belt, I'm contemplating investing in a 5.1 surround setup. This would involve a new interface (828x perhaps), 3 extra JBL LSR305 monitors, a subwoofer, and more sound treatment (for all that extra bass flying around).
My question is, is this something worthwhile and marketable for an indie film composer trying to grow his business out of a small room studio? Does it make me more appealing to have the capability? There are many other "fun" things I can spend money on like synths and plugins....
Film composers, should I have 5.1 capability?
Moderator: James Steele
Forum rules
For discussion of the music business in general from studio administration, contracts, artist promotion, gigging, etc.
For discussion of the music business in general from studio administration, contracts, artist promotion, gigging, etc.
-
- Posts: 205
- Joined: Sat May 23, 2015 7:38 pm
- Primary DAW OS: Windows
- Location: Denver, Colorado
Film composers, should I have 5.1 capability?
DP9.5 64bit, Windows 10 Pro 64bit, UA Apollo Quad FireWire interface, Desktop: Intel i7 5820K at 4.0ghz, MSI X99A Gaming 7 mobo, 48gb RAM (DDR4 at 2133 mhz), MSI GTX 960 2GD5T 2GB, 512GB Samsung 950 Pro m.2 SSD (project/system drive). VEP 6
- MIDI Life Crisis
- Posts: 26254
- Joined: Wed May 18, 2005 10:01 pm
- Primary DAW OS: MacOS
- Contact:
Re: Film composers, should I have 5.1 capability?
As a "newer" film composer I'd say "no." Get your experience and try to set a track record. If someone wants you to do a 5.1, make THEM buy the stuff you need and be sure they give you plenty of time to do it. At this point in your career you should focus on what you want to be known for. Unless you're already trained on post-audio and surround sound, I wouldn't advise too much diversification at an early career stage. Many of us "old guys" came from an analog audio background and worked in sound design and engineering gigs as well as playing and composing. That made adding surround to our bag of tricks a lot easier. Again, I would focus on scoring and let the producer worry about the mix unless you're also being paid to do post audio.
-
- Posts: 205
- Joined: Sat May 23, 2015 7:38 pm
- Primary DAW OS: Windows
- Location: Denver, Colorado
Re: Film composers, should I have 5.1 capability?
Thank you for the advice!MIDI Life Crisis wrote:As a "newer" film composer I'd say "no." Get your experience and try to set a track record. If someone wants you to do a 5.1, make THEM buy the stuff you need and be sure they give you plenty of time to do it. At this point in your career you should focus on what you want to be known for. Unless you're already trained on post-audio and surround sound, I wouldn't advise too much diversification at an early career stage. Many of us "old guys" came from an analog audio background and worked in sound design and engineering gigs as well as playing and composing. That made adding surround to our bag of tricks a lot easier. Again, I would focus on scoring and let the producer worry about the mix unless you're also being paid to do post audio.
DP9.5 64bit, Windows 10 Pro 64bit, UA Apollo Quad FireWire interface, Desktop: Intel i7 5820K at 4.0ghz, MSI X99A Gaming 7 mobo, 48gb RAM (DDR4 at 2133 mhz), MSI GTX 960 2GD5T 2GB, 512GB Samsung 950 Pro m.2 SSD (project/system drive). VEP 6
-
- Posts: 3004
- Joined: Fri Oct 15, 2004 10:01 pm
- Primary DAW OS: MacOS
- Location: San Francisco
- Contact:
Re: Film composers, should I have 5.1 capability?
+1 what MLC said. I've never been asked deliver 5.1 mixes or stems as the composer of a film or TV project.
14-inch MBP M1 Max (2021), 13.6.x, 64GB RAM, UAD Quad Tb Satellite, 4 displays ::: 2009 4,1 > 5,1 MacPro 12-core 3.33 ghz , 10.14.x, 96GB RAM, GeForce GTX 770 , NewerTech eSATA/USB3 PCIe Host Adapter, UAD-2 Quad, ::: 15-inch MBP (2015) 10.14.x, 16GB RAM ::: Lynx Aurora (n) USB ::: DP (latest version), Vienna Ensemble Pro danwool.com