Geoff explained: “Although it is a NON in-line desk, which originally only had 56 channels, the console was expanded to 72 channels to complete this recording session.

“To monitor in multichannel formats, the groups and numerous external devices were used, along with a grace speaker monitoring unit for listening to many stems and multichannel volume control.”

The only microphone preamps used for the score of All Quiet On The Western Front were those within the custom console. 

He said: “The mic preamps are second to none. I always try to use these pre’s and the only reason for moving on to other types is because we have run out.”

“Everything that I can is recorded through the console as it always brings an incredible warmth and presence to the music.

“Even summing String spots using console groups makes a richer sound than summing them digitally after.”

Composer Volker Bertelmann conducted the monitoring remotely due to Covid-19 restrictions and discussed with Geoff how some of the music would play against significant sound effects in the film.

Geoff explained: “Working his (Volker) way, he wanted to be able to play with the orchestral elements to make some unique textures electronically.

“With this in mind, we split Brass and Strings into separate sessions and then further stemmed out elements of the score within these sessions.”

The only microphone preamps used for the score of All Quiet On The Western Front were those within the custom console.

Geoff added: “The mic preamps are second to none. I always try to use these pre’s and the only reason for moving on to other types is because we have run out.”

From start to finish, the sessions spanned over three whole days, with set up and DAW prep completed the night before.

The sessions themselves with the musicians ran in three-hour chunks; 10 AM until 1 PM, 2 PM until 5 PM and 6 PM until 9 PM.

As the team saw more of the film during the scoring process, they recognised that All Quiet On The Western Front would be a special film.

Geoff said: “Although there is no single magic bullet to making a great film score, it is always the dedication to the details that creates something that public react to.

“Using the best players in the world and recording through the best gear in the world was part of a process that yielded a very powerful film.”

For more information about Neve consoles, please get in touch with the Neve team at [email protected].

About AMS Neve

AMS and Neve engineers continue to be at the forefront of the professional audio industry, having pioneered numerous groundbreaking techniques. Over the past sixty years, they have developed several “world firsts,” including moving fader automation, hard disk editing, digital console technology, digital audio for film, microprocessor-controlled effects units, and standards such as MADI.

Their products are highly regarded by discerning artists, producers, and facility owners who consider AMS and Neve equipment as essential on their equipment list.

AMS Neve products have been recognised by premier bodies in the music, TV, and film industries, with their designers receiving numerous honors, including two Scientific and Engineering Academy® Awards, an Emmy™, and a Grammy™, among others.

All AMS and Neve products are designed and built in-house at the company’s headquarters in Burnley, England. For more information, please visit http://www.ams-neve.com.

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