With 3D, it’s a revelation in making stuff sound realistic, just as if you were there in the room… If you record and mix music for a film, there are different rules to apply you don’t really want the orchestra to sound very realistic, but you want to create certain emotions supporting the action on the screen. In stereo, all these parameters have to be squeezed into just two channels, so a realistic sound is quite hard to realize. If it is for a classical record, you want to reproduce the original sound as naturally as possible, which is quite difficult considering the size and depth of an orchestra – and the huge dynamic range between a very soft flute solo and a massive tutti-fortissimo. That’s hard to describe in one or two sentences… It always depends on the purpose of the recording.
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What is the most common challenge mixing a full orchestra? Do you have any general tips, tricks or workarounds to share? And I also understood the emotional impact of 60 people making music together, which is invaluable. This way I already got a lot of experience during my teen years, realizing how an orchestra or acoustic music in general should sound. Our wind band often played arrangements of symphonic music, amongst which a lot of film music as well. Have you always been into this type of music?ĭue to my background as an orchestra musician, I’ve always been into acoustic and orchestral music. You’ve come to specialize in engineering and mixing of classical music and scores. Here I worked my way up during more than 17 years, from assistant engineer to Chief Scoring Engineer and now Head of Music Department. After finishing my studies, I wanted to return to my home country to work there, and got a job at Galaxy Studios. I managed to get a place in the program and eventually became one of Germany’s youngest Tonmeisters. It was or a five-year Tonmeister education which didn’t exist in Belgium at that time. A good friend of mine then told me about the Sound Engineering degree in Düsseldorf, Germany. Towards the end of my school career, when I had to decide what to do with my further life, I wanted to continue making music professionally, but not as a musician or teacher (since there weren’t a lot of job opportunities in Belgium at that time). How come you ended up behind the console and what drew you towards engineering/mixing? Still today I am performing with my own brass quartet, which the four of us founded as students 25 years ago… I also got basic education in playing snare drum and double bass. I studied at the two biggest Academies of Music of Eastern Belgium for about ten years and got diplomas in french horn, solfeggio and chamber music. At the age of nine, I started playing in the local wind band of my village, which was performing on a remarkable level – that way I was “forced” to become a good musician, too, being their principal horn player. I am a classically trained french horn player. The TLA (now The Fillmore), Electric Factory, Rusty Rudder & Bottle and Cork, Stone Balloon, Snow Shoe Mountain Stage, CBGB’s, the Elbowroom, the Lions Den, and the Virgin Mega Store NYC.Ĭhris Cotter has studied diverse musical styles and techniques with Greg Zeller, Fred Biondi, Tom Palmer, Michael Lauren, Memo Acevedo, Kim Plainsfield, Guy Licata, and Frank Kats.Ĭurrently he continues his instruction with Dom Famularo (Long Island, NY) for Technique and Advanced Drum set studies, and Marc Jacoby (West Chester, PA) for Harmonic Music Theory.Ĭhris Cotter is endorsed by Vic Firth and Sabian Cymbals.Tell us a little about your background and how your interest in music began. He’s also developed the acclaimed online music collaboration network .Ī few notable national venues Chris has played:
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He has had extensive experience recording in many professional studio’s including Studio 4, Indre Records, Morning Star, The Roots Private Recording Studio, and Sonic Studios in Philadelphia. Chris Cotter‘s intensity and enthusiasm for live original music creates an explosive performance at every show.Ĭhris stays active in the musical community acting as a voting member in the Philadelphia Chapter of the Grammy Awards as well as owning and operating a successful Record Label/Video Production company in West Chester, PA. Chris prides himself on being a well rounded drummer integrating Rock, Hip-Hop, Jazz, Funk, and Latin Styles into his playing.
A professional musician from the greater Philadelphia area, he has spent his life studying and performing music with many ensembles. Chris Cotter has been a full time music instructor for over thirteen years and has been a valuable educator at Pro-Musica Studio & Taylors Music Store during that time.
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