Halifax Motion Picture Sound

Working hard for director’s notes like these:

Location sound by yours truly. NSFilm https://www.halifaxtoday.ca//halifaxs-decluttering-queen-b

Public Service Announcement - take from it what you will: https://www.eenewspower.com//your-data-safe-cloud-our-expe

Cudos to Director Louise Ferguson for this epic project under her belt. Watch for the segments in PEI and Cheticamp, and know that’s my sound. This is The Nature of Things 65 anniversary series

COLLECTOR OF RARE & FINE AMBIENCE: Halifax Motion Picture Sound provides Professional Sound Services to Filmmakers, Television Series Productions, Animation and Music Projects. Sound Supervision from Location Sound and Pre-Recording through Final Mixing and Print-Mastering. Experienced with both Internationally Released and Nationally Broadcast Projects. Experienced Professional Music Studio Services from a fast paced TV Musical Series Production to a Patiently Crafted Musical Piece of Art. PLEASE VISIT HALIFAX MOTION PICTURE SOUND & MUSIC https://halifaxmotionpicturesound.wordpress.com//collecto/

Please go forth and multiply NSFilm

Proud Sound Designer here Congrats to all!!!

Congrats, your film follows a great, beautiful and clearly informative story!

OTARI MTR-10 Rockin since 1981. I started my career mixing to 1/4 decks by Studer, so I know this particular MTR line of machines is indeed stellar beyond the Studer. I can confirm a few amazing mixes made onto a 1981 version of this machine (not mine: Hit Factory’s) John Lennon and Yoko Ono’s Milk and Honey, Bruce Springsteen’s Born In The U.S.A., Whitney Houston’s Whitney, Laurie Anderson’s Big Science, & Angelo Badalamenti’s Music From Twin Peaks (Ha) and soooo many more.... Not to mention many albums I mixed or mastered Ha and will continue to. I’d say not the best thing for Metal Music - true (Where digital excels excepting drum kits) lol, but almost anything else. She’s on the move to her new room to be a working centrepiece. I have a two track Dolby SR for 15ips / fat operation but mostly I’ve used this at 30ips with no Dolby with stellar results, particularly noticeable beauty to a lead vocal. The compromise is of course noise and so often mix saving any faded endings for the mastering stage otherwise razor blade the record together leaving the noise in the gap like the classics. In reality a broadcast machine as these things are intended though of course they landed in music studios. The first DAT decks came out at a similar time but side by side analogue it was a let down and considered a backup. The slight and unapparent compression everyone talks about and is modelled in plug-ins on a good machine like this indeed the bees knees for music mixing. In the mastering stage I’d often just turn the program up in playback +6dBu for CD and was done. When the volume warz stared mid nineties I added +2dBu more with a peak limiter for those who wanted more. Then everyone wanted (and wants today) even more digital level at the sacrifice of dynamics which bums me out. I can squeeze more in a mastering chain but I don’t enjoy that process of compromise. Best with your mixes See more

Pride for this Sound Design NSFilm

Need sound out n’ a boat A fabulous time on the Miramichi