AGATHA CHRISTIE’S – POIROT.
“THE CLOCKS”, “HALLOWEEN PARTY”, “THREE ACT TRADEGY’ & “MURDER ON THE ORIENT EXPRESS”.
COMPOSER: CHRISTIAN HENSON.
I’ve just delivered these four scores, which very much put my Spitfire sound-set through it’s paces. My brief on Poirot was to offer hints of the period setting, coupled with the characterful nature of Hercule, and the cinematic ambitions of ITV’s flagship drama brand. This is where combining both “Chambers” and “Symphonics” really worked for me. I found myself being able to adjust focus with the two strings modules. So when we are in a small skullery in a Dover townhouse I’d be working with the Chambers. To the same episode, a couple kissing before the white cliffs as (ironically) two Spitfires buzz overhead for the cinematic climax, where I could open the aperture with the Symphonics. As the “Chambers” were produced with a more “traditional” brief in mind and the “Symphonics” with a more modern sounding approach, I was also able to switch between historic character to true emotional cues told in a more touching modern vernacular. I also naughtily asked Paul to provide me with a super early WIP of our Clarinet as this is very much the instrument I hoped to use to characterise Hercule. It was great that I was then able to book Andrew Marriner for the actual sessions, so from demo to live there were no surprises.
When doing 4 entirely different films like these (average 60 mins of music per film), money soon gets very short for production, so I was able to book a small band, and where necessary backed their efforts up with the Spitfire samples. I think the results of this are really surprisingly believable in escalating the true scale of the live band. The examples provided were recorded at Air-Edel studios with the following base line up: 3,3,3,3,1, fl (doubling alto), ob (doubling cor anglais), cl (doubling bass). Again, with the Spitfire samples bringing up the rear without just doubling the live players with a muddy symphonic pad.
“The Clocks” – Love Theme (featuring Caroline Dale on Solo Cello):
Mockup Demo: POT-CLS 7m51 (mp3)
Download Sequence File: POT-CLS 7m51 (logic file)
Download Score: POT-CLS 7m51 score pdf
Final Mix: POT-CLS 7m51
“Three Act Tradegy” – Overture (featuring Skaila Kanga on harp)
Mockup Demo: POT-3AT 1m01 (mp3)
Download Sequence File: POT-3AT 1m01 (logic file)
Download Score: POT-3AT score pdf
Final Mix: POT-3AT 1m01 (mp3)
“Hallow’een Party” – Secret Garden (with appearance of Spitfire “Kitchenware”)
Mockup Demo: POT-HAP 2m1 (mp3)
Download Sequence File: POT-HAP 2m17 (logic file)
Download Score: POT-HAP 2m17 score pdf
Final Mix: POT-HAP 2m17
“Murder On The Orient Express” - Redemption (with Caroline Dale and Andrew Haveron as soloists).
Mockup Demo: POT-MOE 7m3 (mp3)
Download Sequence File: POT-MOE 7m37 (logic file)
Download Score: POT-MOE 7m37 score pdf
Final Mix: POT-MOE 7m37
Demo specs:
Mockup samples: Spitfire Chambers & Symphonics, Great British Brass, WIP Clarinet & Pianos, Pre-Release Kitchenware, Dan Dean Solo Strings, Sonic Implant Woods, Deagan Orchestral Perc, Garritan Harp. Outboard: Manley Massive Passives, GML Eqs, Distressors, Neve 33609s, TC6000 Reverb.
Rec Specs:
Recorded at Air-Edel studios, London by Nick Taylor. Cadac Desk, Neve Pre-amps, Neumann U47s, U87s, M149s, AKG C12s, Schoeps Microphones.
Mix Specs “The Clocks”:
Air-Edel studios, London by Nick Taylor. Cadac Desk, Manley Massive Passives, GML EQs, Neve 33609s, Air-Edel Plate Reverbs + TC6000 digital verbs.
Mix Specs “Three Act Tradegy”, “Hallow’een Party”, “Murder On The Orient Express”:
Soho Sound Kitchen, London by Goetz Boetzenhart. SSL Desk, Manley Massive Passives, GML EQs, Neve 33609s, Empirical Labs Distressors, Air-Edel Plate Reverbs + TC6000 digital verbs.
DVD release date(s) TBC.