“It’s all there… it just doesn’t feel right.”
Over time I’ve learned that when this happens, the solution isn’t always a fader move. Sometimes it’s about stepping back and listening differently.
Still so proud of the entire team involved in this project - bringing @steveyg.bsky.social ‘s inspired music to life. Strings/Winds/Choir recorded on the opposite side of the planet to brass/percussion/crumhorns - in a variety of studios, but coming together as a unified whole.
Continuing some thoughts on object-based and channel-based approaches in immersive music.
A short article on authorship in immersive music, and how different production approaches shape intent, control, and listener experience.
A short article on how I approach immersive music mixing for film, with a focus on narrative and translation.
I am often surprised - in discussions with colleagues and clients - at the amount of film scores that continue to be recorded and mixed in 5.1.
In my view, 5.1 is no longer ideal for composers, and there are meaningful reasons why: both for film presentation and for soundtrack albums.
Another nomination for the San Francisco Symphony & Esa-Pekka Salonen: Best Orchestral Performance for Stravinsky’s Symphony in Three Movements. Congratulations to all of this years nominees.
“Stephen Gallagher’s familiar choir-like score may well send chills down your spine.” Variety
I’ll be giving a workshop on October 15th at the World Soundtrack Awards on both the creative and technical aspects of my work on the LOTR franchise and animated feature Ultraman Rising - and of course also cheering on @steveyg.bsky.social who is nominated for the public choice award
I had the pleasure of mixing some of Alex Mandel’s score, and the end title song, for this incredibly moving film. Soundtrack Album coming soon.
3D printed moon lamp glowing white
Many thanks for the gift @steveyg.bsky.social - now I have the night sky in the studio - well at least the part one can see in London!
The latest release in the San Francisco Symphony’s digital concert series - Esa-Pekka Salonen’s stunning cello concerto performed by the symphony’s principal cellist Rainer Eudeikis. Produced by Jason O’Connell, Recorded by Jon Johannsen, mixed and mastered by myself. (Dolby Atmos & stereo)
@madebymutant.bsky.social is having a 30% off sale this weekend. A great time to pick up the beautiful vinyl box sets for #ultramanrising and #waroftherohirrim
www.madebymutant.com?lang=en_GB&s...
@steveyg.bsky.social #scotstafford
@schoeps.bsky.social M222 internals
A great turnout for @echo-project.bsky.social presentation at #AESWarsaw2025 - download the full database and documentation at www.echo-project.com @hklworld.bsky.social @lindberg.no #katiasochaczewska #simonratcliffe #nickwollage #kelloggboynton #anthonycaruso
Thrilled to have been part of this release on DG - #sanfranciscosymphony #saariaho
Available now - the complete database of multitracks and mixes from @echo-project.bsky.social apl-hud.com/echo/ @hklworld.bsky.social @lindberg.no #KatiaSochaczewska #NickWollage #SimonRatcliffe #AnthonyCaruso #KelloggBoynton
#ultramanrising score Part 4: an interlude before getting to brass and Taiko - tools of the trade - key components of my set-up. With custom shock mounts for the three #sankenmicrophones CUX-100K made by my long-retired father.
#ultramanrising score Part 3: I don’t have any shots of the winds in action so this will have to suffice. Spot mics only as there is enough “space” with leakage, and I didn’t want to capture any more of the booth than necessary. Strings in Hall and Harp in other booth.
#ultramanrising score Part 2: #hughwebb in right booth during string/wind sessions. The primary harp pickup was an SF24V, with an alternative of MKH800’s. The Royer provided a rich tactile sound for many of the solo harp lines played close to the soundboard - creating a koto-like effect.
Overhead photo of string session at Air Studios in London
Looking back on our scoring sessions for Scot Stafford’s #ultramanrising score. Part 1: fifty piece string section at Air Lyndhurst - was very happy with basses in the middle which I hadn’t had the right opportunity to do before - but have long wanted to!
Exciting news from this past weekend. This was also a great project for immersive release as the score calls for the chorus to be amplified aroud the audirorium with an immersive pa set-up. #sfsymphony #jasono’connell #jonjohannsen www.sfchronicle.com/entertainmen...
Aleatoric good times with the superb Brass players that we were privileged to have as part of “The Lord Of The Rings: The War Of The Rohirrim” score. Recorded here by the GRAMMY winning @pin3hot.com at Angel Studios in London. From the cue “The Beast Is Rabid”
Flux Mira Immersive metering and audio analysis plugin screenshot.
I have always loved detailed metering.
The amazing brass players we were privileged to have as part of the score for “The Lord Of The Rings: The War Of The Rohirrim” performing a section from “Helm Hammerhand Still Stands” (one of my fav cues from the film) at Angel Studios in London as recorded by @pin3hot.com
Joji Hirota and Eri Kaishima performing Taiko parts as part of the soundtrack to The Lord Of The Rings: The War Of The Rohirrim. Recorded at Angel Studios, London by @pin3hot.com
@pin3hot.com mixes the last score cue of The Lord Of The Rings:The War Of The Rohirrim on The Mike Hopkins stage at Park Road Post Production last year. This cue seemed to make a lot of people cry (in a good way).
open.spotify.com/track/6RDevC...
After echo-project.com last month I decided to reread an article I wrote a couple of years ago to see how my thoughts may have changed. They have in small ways but fundamentally I feel about the same - www.nationalacademies.org/news/2023/09...
