Chords for Hollywood Scoring - Remote Orchestral Recording in Los Angeles

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_ _ _ My name is MB Gordy and I play trumpet. _
My name is Sarah Andon and I [F] play flute, [Eb] piccolo, alto flute, [C] bass flute.
My name is Rick Baptist.
I play [F] trumpet and I have been in Los Angeles [C] since 1980.
My name is Armin Sijekian.
I play cello in Los Angeles.
_ _ My name is John Lewis.
I'm a trumpet player in Los Angeles.
I moved to Los Angeles in 1981.
I'm Brian O'Connor.
I'm a French horn player.
I've been here in LA for [F]
45 years.
Los Angeles really _ [G] is known [Am] as the movie capital of the [Dm] world, the soundtrack [F] capital of the world.
[A] LA is the place I always wanted to [F] be because this is where [Dm] _ [Am] all the great musicians [G] are
and I want [F] to be able to sit and work with those [C] guys.
We serve the picture most of the time.
If we're doing a [G] film or television show, [Fm] we're there to serve the [F] musical _ score that
is fitting [G] a picture.
It's very important that [Am] rhythm and intonation are right [Dm] on, as close as we can get them
[A] every single time we play.
[Am] Where Los Angeles really has the competitive advantages that we're so fast and [G] able to
still accomplish [Fm] the highest [C] caliber of recorded music [F] and do it quickly.
The thing that [G] amazes me [Am] with the caliber of musicians in [Dm] every chair is [A] the fact that
they [Am] can play anything that's put in front of them.
This is the real miraculous thing about Los [G] Angeles to me, is there [Fm] might be three or
four [Am] orchestras worth of musicians that can all do this as if they [G] play together every
[C] single day constantly.
In terms [C] of how fast you can move, what you guys need to do as film composers and video
game composers, _ you've got to move fast.
There's a lot of music usually getting done [Em] in the course of a day, or in this case today,
three hours. _ _ _ _
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_ _ _ [Bb] With all the years I've had playing in pop and jazz music [B] where you basically, _ [Em] _
improvisation
is composing in real [Em] time.
So right at the moment of playing, all of the decisions of performance are coming into it.
So you just [D] need to take that [E] mindset and take it into [C] the studios [A] and have everybody
else hopefully be [Dm] there.
One of the things that helps us a lot too is there's an [Bb] incredible infrastructure of
people [F] that are behind the scenes that help us to make sure that our [C] headphones are right,
that [Gm] the mics are set up correctly.
All the engineers help us to come [Am] in and be able to do our job really well and [A]
that's
something that's unique to Los Angeles.
The expertise [D] that is found in [Bb] the booth and in the orchestrators and [D]
composers is phenomenal.
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[C] _ _ [D] _ _ [C] _ _
[D] We're [Gm] also going to be [D] streaming this session to [C] a studio [D] down in El Segundo.
[Bb]
We're going to be [C] able to see the composer _ _ [D] right here on this [F] screen and be [G] able to offer some [F] feedback.
[G] A little [F] more [G] precision would be [F] great on all [A] these [F] 16th notes, [Bb] violins especially.
I wrote four pieces today, Mike Berry [Db] wrote a couple and we're also [C] going to do a couple
of [G] classic pieces.
[Bb] It's literally inhuman [Fm] to be able to play [Bb] this well this [Db] fast.
[C] And the thing [G] that's [C] different for me [Eb] is that [C] they never sound like they're [E] reading.
Even [C] when they're reading, [Eb] they sound like they know it.
It's amazing how much faster [G] _
that makes [D] the entire process.
I know all these players and we've worked [Eb] in different scenarios, [Bb] from shows to [D] sessions
to live gigs.
[C] I love the challenge.
I love [Eb] the need to [D] be completely on [C] my toes all the [D] time.
I love not having to prepare for one specific thing.
Everything we saw today, we saw when we opened our books, when we got [Eb] here.
_ [Bb] _ _ Not [C] only [D] just reading the music, but [F] figuring out how to get the best results [Eb] for the music
[D] that's in front of us as [C] part of our game.
[D] _ _
[A] That comes from _ generations of knowledge and talent that have been [D] here in Los Angeles
and the Hollywood [G] studios for many years.
[D] All these guys _ _ [G] are coming here for [E] a reason and that reason [D] is we will give them what they want.
We [G] can give it to them [D] faster.
And we can actually have a good time [G] doing it.
We're not worried that we're not going to make you happy. _
_ We know we [G] can make you happy just [D] by what we do.
I think that's a big [G] advantage of being able [E] to record [D] this way, where we're here and you
can send this [G] to producers [D] or directors or composers elsewhere.
It could [G] be having their [D] music recorded and they don't have to be here. _ _ _ _
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The [D] culmination of all these viewpoints and experience [G] from many [E] generations brings the
[D] product up to a higher [Em] level.
Just [D] magnificent playing [Em]
and magnificent [D] writing in a [F] magnificent _ [G] place to record with a magnificent [D] engineer.
Can't get any better than that. _ _ _ _
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