Ocmix

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“I’m very partial to the Chandler world. I
have their LTD-1, TG2 and TG1 hardware and
lean on this stuff heavily. The TG mic pre’s
and stereo limiters are unbelievably fantastic!
I love the Bricasti M7, and I also turn to my
Eventide DSP4000 on a regular basis. There’s
a patch called Black Hole that is amazing. You
can put almost any transient through it and it
creates all kinds of overtones and harmonic
dissonances that interact with the stuff that’s
happening onscreen in interesting ways.”
The Corvair may have been junked decades
ago, but Russo has miles to go and new
horizons to conquer. “Tonic continues to play
shows,” he says. “We’re constantly threatening
to write and make a new record—we’ve
actually done a lot of recording here—but I’ve
been so busy that it’s hard to justify taking
time off to go back to that area. I’m sure I will;
it’s where my heart has always been. The good
news for me is that I’ve been able to transfer
my knowledge as a songwriter and apply it to
a much bigger setting, to transfer the aesthetic
of writing a song to a score.”
To hear examples of his work, visit www.
jeffrusso.com. n
and that’s how I try to treat a score.
“I’m currently working on Tut for the Spike network,”
he continues. “It’s exactly what you’d expect—a
very broad, big, epic score. The show features
a lot of music, and I’m writing for a 70-piece
orchestra; that’s what this show needs. With Fargo,
conversely, it’s a barren story, so using music sparingly
was effective; you wanted that cold and lonely
feeling. Sarah Lynch is my orchestrator, but I perform
a lot of the parts directly into my Pro Tools
sequencer using sample libraries. I have a lot of the
Spitfire and Berlin Strings stuff; they’re mainly what
I turn to when I write for the orchestra.”
A number of his larger scores have been recorded
overseas, but Russo hasn’t selected a venue for the
Tut sessions. “I use my place to record myself on
drums, guitars, basses and keyboards, as well as to
track soloists—an oboist, say, or a violinist. I have
about 400 square feet of space in my live room, plus
another 600 square feet or so in the control room.
Jim Hill has been mixing a lot of my work out of his
home studio in Pasadena.
“I mix all of the music I create for CSI: Cyber,” he
continues. “That show doesn’t employ any live musicians,
so I mix as I’m writing the cues. Everything’s
going through limiters and compressors as I work,
and I’m EQ’ing as I write. I have an assistant, Jordan
Gagne, and if I feel I’m losing perspective, I’ll bring
him in to add another set of ears.
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6/23/2015 12:13:32 PM