When great music and sound design combine they create something bigger than the sum of their parts.
After watching Symphonic for the first time, we instantly new the soundtrack would work as a piano piece. The tone and feeling created by the shots had a sense of warmth and class. The piano composition was therefore the first thing laid to picture. We composed it with a free flowing sense of timing which gives it a human feel but also means you can hit edits in the film with ease by simply speeding up or slowing down the pace. The composition was then performed by pianist Helen Stanley on a grand piano. This process was essential in creating a deep warmth to the recordings.
The piano composition left plenty of space in certain scenes for sound design to become the prominent feature. This was an important decision as we wanted the exhibits to really come to life. Audio recorded for sound design includes an indian bell running down a chain, tennis balls in a box, polysterene, punching a bed sheet for fabric textures, scraping metal on a cymbal and LFO modulations from an Octave Cat synthesiser.
We then recorded live strings using violinist Anneka Sutcliffe and celloist Ewelina Nowogorska. Recording strings was time consuming as we had to match the piano composition, the speed of which ebs and flows freely. The results are really elegant, bringing a natural timbre to the music which can't be replicated using software.
Classical vocalist Victoria Klewin was the final icing on the cake. We multi tracked her recordings as harmonies which gives a rich depth to the sound. The recordings were then heavily eq'd with long distant reverbs to create an other worldly shimmer to the vocals.