It still has the stops and the open space - but the intervals are much closer together. I’m playing The Revenant Atmospheric variation from the soundtrack. Ryuichi Sakamoto’s theme for The Revenant is so unexpected. How to play The Revenant Atmospheric for classical guitar Click here to be updated on new material.)

(Note: The Revenant is my premium material.

However, the Shotgun mic will be a major improvement in the upcoming year. It’s just easier for me to move quickly (and do a lot of takes) with the mic attached to camera as with my Zoom Q8. The Shotgun mic is a long tube aimed right at me, so the sound of the guitar is much more focused and warm. The stereo mics in the base of the SSH-6 pick up just a bit of the room to balance out the sound.Ī few readers have wondered why my sound isn’t more professional, and to that I say, I’m trying! I always keep in mind that “perfect is the enemy of good enough”. The Q8 came with a detachable X/Y configured mic that sounded good enough, but it picked up the entire room where my guitar just happens to be the loudest sound. I’m using my new microphone, a Zoom SSH-G (Stereo Shotgun Mic) for my Zoom Q8 video camera. The Revenant is totally in my wheelhouse. I personally value music and movies that disrupt any notion of what’s “normal”. My favorite band is Radiohead and my favorite director is Stanley Kubrick. My final post for 2015 is by far my favorite and most compelling. Whether it’s Gustavo Santaolalla’s score for Babel, or Ryuichi Sakamoto’s score for The Revenant - there’s an unusual mix of notes and a density to the chords. In addition, the music is just off the center axis. He’s clearly a minimalist when it comes to the music in his films – valuing open space between notes. This music says a lot about world-class director, Alejandro González Iñárritu.

Ryuichi sakamoto the revenant