Mixing
Effects Mixing
I have many long-standing relationships with some of the leading effects editors working in the UK today. I approach effects and atmosphere mixing from a highly creative perspective, collaborating closely with the editorial team well-before going anywhere near a mixing stage. Knowing exactly what's "coming up" on the faders allows me to mix confidently under heavy pressure without any nasty surprises.
Lead Mixing
I have developed a reputation as a lead (music and dialogue) mixer, and my approach to this discipline is very similar to that of effects mixing. My background as an effects mixer means I am constantly focusing on the ‘soundscape’ of the film and ensuring that the nuances of the mix are in tune with the changing emotions of the action.
Creativity
My training as a classical musician, combined with the experience of making classical records, has given me a unique focus on the power of sound as tool to manipulate the emotions of the listener. The opportunity to move the audience and tell a powerful story in the context of cinema, where the aural experience is often subconscious, is my primary motivation.
In short, my focus is on mixing with my ears and my soul, not technology and fancy equipment (though when it comes to equipment I demand the very highest standards).
Technology
Matthew is fluent with the major film mixing consoles, including the AMS-Neve DFC; Euphonix System 5; and the Harrision Series 12. He is also experienced in use of the AVID ICON series (in combination with ProTools), for both final mixing smaller projects and pre-mixing larger scale films.
I have many long-standing relationships with some of the leading effects editors working in the UK today. I approach effects and atmosphere mixing from a highly creative perspective, collaborating closely with the editorial team well-before going anywhere near a mixing stage. Knowing exactly what's "coming up" on the faders allows me to mix confidently under heavy pressure without any nasty surprises.
Lead Mixing
I have developed a reputation as a lead (music and dialogue) mixer, and my approach to this discipline is very similar to that of effects mixing. My background as an effects mixer means I am constantly focusing on the ‘soundscape’ of the film and ensuring that the nuances of the mix are in tune with the changing emotions of the action.
Creativity
My training as a classical musician, combined with the experience of making classical records, has given me a unique focus on the power of sound as tool to manipulate the emotions of the listener. The opportunity to move the audience and tell a powerful story in the context of cinema, where the aural experience is often subconscious, is my primary motivation.
In short, my focus is on mixing with my ears and my soul, not technology and fancy equipment (though when it comes to equipment I demand the very highest standards).
Technology
Matthew is fluent with the major film mixing consoles, including the AMS-Neve DFC; Euphonix System 5; and the Harrision Series 12. He is also experienced in use of the AVID ICON series (in combination with ProTools), for both final mixing smaller projects and pre-mixing larger scale films.
