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    The other scene that struck me was when Weisz walks through the passageway and comes upon Emma Stone in bed. You can feel her stalking through the darkness and it works so well visually and sonically. Johnnie Burn: I’m glad you liked it because we did some work there. Before that, the Queen’s having her legs massaged, and we almost comedically use the winds to accent the music. When you cut to Rachel, she’s geographically and philosophically distanced, and we cut in a very cold wind. It sets up a different atmosphere for her scenes, and that really helped. She then floats down the corridor and the wind becomes a pure note.When you see Abigail in bed with the Queen, the outgoing music is in a minor chord. However, the next piece comes in on a major chord. There’s only a four second gap between the music. When the gap is that small but musical change is that big, you register it as a major piece of discordance. So we used modulated the wind from the corridor through changing the frequency, and it actually completes the key change. All the supporting atmospheres are working musically to support what you’re watching on the screen. It was a really fun bit to do. It is fun to alter the sound effects and design to help alter the interpretation of the image.To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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