Mair loves to experiment but he’s also usually on deadline, crafting soundtracks for movies like Till Death and The Unfamiliar as well as videogames from Call of Duty: Mobile to multiple titles in the Grand Theft Auto series, sometimes with only hours to spare from temp score to finished cues. Mair has custom instruments (including a modified piano, an OctoBass, and a ContraHurdy) and holding it all together is a Mac Pro with 16 terabytes – running Logic software and crammed full of software and plug-ins – all connected to an Apogee Symphony I/O Mk II audio interface and Focal SM9 monitor speakers. It’s a mad lab anchored by a giant modular synth rack and a range of keyboards – a Flock Audio PATCH system and a MASCHINE both allow him to control his outboard gear and transport MIDI to and fro. “It’s more about making the directors and producers feel comfortable.” Then there’s his home studio, which is anything but minimal. “It’s bare bones, like a big projector and a couch,” he says. One is in London’s central SoHo district.
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