"Stay Cool" starring Winona Ryder, Chevy Chase, Sean Astin and Hilary Duff is the Polish Bros' homage to 80s teen comedies, great script, brilliantly cast and very originally executed. The music score is full-on 80s post-punk pop inspired. Heavy processing on the guitars, good amount of synths, gated reverb (YES!) on the snare, CP70, all that good, baroque 80s stuff. FUN!!!!
"See What I'm Saying" is a feature documentary about four deaf stage entertainers that are well-known in the deaf community but virtually unheard of (pun intended) in the hearing world. The score has a raw, handmade quality to it, i.e. close-mic'd sign language gestures act as main percussion throughout the film. Lots of acoustic bass guitar and my neighbor's somewhat trashed but beautiful "old-timey" sounding steel-string acoustic. Haven't found a guitar quite like his. The worn strings helped, too. Plus a bunch of other small instruments and objects.
Have a listen at http://www.kubilayuner.com Both films should come out sometime in 2009.
Used DP5.13 all the way. I've been posting my bliss many times here on these pages, hours of cycle-record and -edit while streaming video, super-stable, amazing, amazing DAW. Can't imagine doing this without some of DP's unique features (i.e. multiple sequences per project, and way too many more to list here...)
Main plugs are Stillwell (1973, VibeEQ, The Rocket) as the main EQ and compressors, with Sonalksis EQ, comp and gate and Waves Renn in 2nd and 3rd place. MOTU Dynamics plug used to duck the bass out of the way of the kick. Abbey Road plugs (mastering EQ and TG compressor/limiter) are on the submix stem busses. URS Saturation 2 is the closest to a 'secret weapon' - it's on a number of tracks and on every buss. A game-changer IMO.
Audio Damage Dubstation for most delays, or else Waves Supertap. Reverence (now Adverb), Stillwell Verbiage, plus of course Altiverb when the reverb has to actually sound clean. SoundToys and a bunch of other stuff for the processed sounds, plus Schwa Oligarch (nice!) for the chorus.
A pleasant surprise was the Schwa Olga synth (available at Stillwell site), used it on a bunch of tracks and the most original sounding soft-analog synth I've ever worked with. My old Moog Prodigy was supplemented by the most amazing Arturia analog emulations, especially their CS80V, and MOTU Electric Keys was used a good bit.
All tracking (both mic and DI) through an Aurora Audio GTQ2mkIII (awesome pre) into a Lucid 9624. Main mics are the Blue Baby Bottle (one of my favorite acoustic instrument mics), plus the SM57 on more sources than you'd ever guess. I do have a handful of good-to-decent mics, but the SM57 just turns everything into pure rock 'n roll if you use a good pre. Monitored and mixed on (what else?) NS10Ms with a Blue Sky Sub8, both fed by a Benchmark DAC1, plus occasionally a pair of Sennheiser HD600 through the DAC1's magnificent headphone pres to get a different perspective.
