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Marco Marinangeli Conducts Mickey's Most Merriest

Marco Marinangeli Conducts Mickey’s Most Merriest

Among the many, many other fantastic scoring projects this year, we are proud to have recorded and mixed two Holiday shows for Walt Disney World, Orlando!

Jingle Bell Jingle BAM! is a new Holiday Spectacular in Disney’s Hollywood Studios. Read the rest of this entry »

nashville scoring recording studio

The new orchestra room at DRR&P

2015 was just a crazy year with both production and construction. I would never have survived it without the tireless help of the entire team here at DRR&P.

Projects:

We started the year with a full load of productions; Sea Lion High, the new sea lion and otter show for Sea World; new Junior musical versions of Peter Pan (the 1954 musical), Honk, Dear Edwina and Anything Goes; and a new full length musical (and Jr. version) based on the animated film Madagascar! In here somewhere I also managed to mix the score for a video game; more when that’s public.

Construction:

From April to November 2015, we made it through a massive expansion of our studio building, adding a big, new orchestra recording space to studio A and an entire new studio suite, Studio D (complete with another lounge, shop, and two more bathrooms), to our facility. Read the rest of this entry »

Some cast and creative team recording James and the Giant Peach

Some of the cast and creative team recording James and the Giant Peach Photographer:cousindaniel.com

Along with the announcement that the James and Giant Peach cast album I produced is now available for free download HERE, a few behind the scenes videos were released… like this one

The show, based on the Roald Dahl book, was adapted for the stage by Timothy Allen McDonald with music and lyrics by Pasek and Paul (Dogfight, A Christmas Story, Dear Evan Hansen.) Get a copy!

A few months back, we built four U-87 clone microphones here at the studio. They’ve since been in regular use in many of the roles an 87 might play in a busy studio; string section, saxes and other winds, lead and group vocals, guitars and amps, and they are fantastic. They have all the depth, tone, accuracy (and inaccuracy) and proximity effect signature of microphones that cost at least 6 times as much.

Since so many people have been asking for details on the build, my friend and colleague Daniel Noga, who headed the whole mic build project, did this great write up on the entire process from ordering parts to listening to the final build. Read the rest of this entry »

Thought I’d share this fan video of the Christmas parade I just did in September. Though it’s hard to discern the individual float audio, you can get a rough idea of how complicated the audio production for a parade can be. There are looped sections for marches, and each float has it’s own unique overlay music and voice playback that has to be perfectly synched to the underlaying music playing through speaker systems along the parade route.

Caution: the first section loops until around 5:09… this may cause you agony, so feel free to skip ahead!

A treasured RCA 77 DX

There are so many wonderfully documented mic shoot-outs, comparisons and evaluations (some of which are exhaustive) that it would seem that everything that can be said, has. But recently, after modding one of my pairs of ribbon mics ( I put Lundahl transformers into one of my pairs of Cascade Fat-Head mics), I was setting up for a comparison test between the un-modded and modded mics when I decided to add another 4 different ribbon mics and place them all in front of a guitar amp. Some of the results were just as expected, but a few were surprising, even after using some of these mics for decades, and I felt that this was too fun not to share.

The contestants:

note – Because I was using electric guitar for the test, I left a few of my favorite ribbons out, like Read the rest of this entry »

A Show at the Shamu Stadium, Sea World San Diego

We recently completed work on a new Shamu show for SeaWorld San Diego, Shamu’s Christmas, opening this November for the holiday season. DRR&P worked directly with the creative team at SW San Diego and composed, arranged and produced all the music for this production.

The show features Orcas (of course), live male and female host/singers and a live sax player. As the directors wanted a spectacular show that featured exciting animal choreography yet still retained a warm holiday and family spirit, we felt it called for a score that combined both classic orchestral moments as well as driving percussive, rock and pop elements. Read the rest of this entry »

Here’s a fan video of the new show, “Mickey and Company,” in the Diamond Horseshoe Theatre at Tokyo Disneyland that I recorded and mixed back in January. It’s always fun to see how everything works together in the final production. We recorded all of the music here in Nashville, background vocals and mixing in the Disney production studios in Orlando.

Dan Rudin marking a score

Producer, engineer Dan Rudin make notes in the score while tracking a recording session

Over the years, I’ve printed a few audio recording, midi and music business tutorials and “how to’s” that have received much positive response from readers. The other day I was having a difficult time locating one of the older posts for myself, so I decided to put together a short list of links to the favorites.

Thanks to those who’ve taken the time to email and continue discussions on these topics.

Midi and Tempo Mapping:

– Midi: Four Letter Word or Composer’s Best Friend?
– Are You Leading or Following
Read the rest of this entry »

James Febris tracking in Nashville

How do you cut tight, rocking tracks with great tones? Simple… have KILLER players.

To record a few more tracks for Ecuadoran singer James Febris’ debut album, I returned to The Tracking Room studio with producer Rodolfo Castillo, executive producer Jaime Araque, Arranger/Contractor Chris McDonald and an amazing bunch of musicians. Read the rest of this entry »

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