Claude Lumley

Studio Session French Horn

Claude Lumley on SoundBetter

I specialize in cinematic, orchestral Horn solo, and section tracking for Film & Tv and have 10 years of experience in various types of performances and recordings with American orchestras, the U.S. Army & U.S. Air Force. I am a trained audio engineer and have access to the gear needed to allow me the flexibility to blend well with your project!

I will provide you with professional, high-quality, recordings of an experienced Horn player performing your work captured on industry-standard hardware. I have performed with artists in varying genres such as Indigo Girls, Lee Greenwood, Mac Powell & Wintley Phipps: in shows and musicals such as Cirque du Soleil, Oklahoma, Jurassic Park in Concert: and in orchestral and operatic works with the Houston Symphony, Houston Ballet, San Antonio Symphony, Richmond Symphony & Louisiana Philharmonic.

I have access to AKG c414 pairs, Neumann u87 pairs, Cascade Fathead Pairs among others (I prefer to record in mono with an AKG c414). I record with a Behringer interface into Reaper, ProTools, or Logic Pro X where I process with Slate plugins (I prefer Reaper). I can record in a dry "booth" setup, medium/large room, or (pending availability) a very large church sanctuary. (I prefer dry to allow for the most flexibility to match in post). I also have access to a variety of French Horn designs, some that have very distinctive sound profiles that can aid in blending with your project.

I guarantee clean recordings to allow for maximum flexibility in your project. I enjoy the process of collaborating with others to make music and look forward to working with you on your project!

Send me an email through 'Contact' button above and I'll get back to you asap.

Interview with Claude Lumley

  1. Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

  2. A: For the Air Force I created, recorded for, and recorded others, mixed and mastered a performance of Copland's Fanfare for the Common Man. The video is posted on the Band of Middle America's Facebook page. I am very proud of the unified sound that was achieved all with close-mic setups, recorded separately.

  3. Q: What are you working on at the moment?

  4. A: I compose my own trailers for Film and TV, currently and into the future, I am recording cues for those tracks.

  5. Q: Is there anyone on SoundBetter you know and would recommend to your clients?

  6. A: Not at the moment

  7. Q: Analog or digital and why?

  8. A: For digital content - Digital (with analog emulation) because its likely to be consumed by 90% or more of the audience digitally. For acoustic or concert works - Analog because the audience plans to consume it that way. I have performed concerts with digital sound is imposed over a live orchestra and it is never as effective as it would be in a cinematic setting.

  9. Q: What's your 'promise' to your clients?

  10. A: I promise to be flexible and create a product for you that is easy to work with.

  11. Q: What do you like most about your job?

  12. A: I love creating music with others, I develop an appreciation for different ideas and gain a perspective that enriches my own performances!

  13. Q: What questions do customers most commonly ask you? What's your answer?

  14. A: How long will this take? When do you need it by?

  15. Q: What's the biggest misconception about what you do?

  16. A: That horns must be recorded live with an orchestra in a studio to get a professional result.

  17. Q: What questions do you ask prospective clients?

  18. A: Do you have a click track for your work? What will your ensemble ultimately be? Can you suggest tracks to listen to that sound similar to your work (so I can reference the French Horn sound desired)?

  19. Q: What advice do you have for a customer looking to hire a provider like you?

  20. A: Ask any and all questions! I hope to be as transparent and helpful in this process as possible!

  21. Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

  22. A: French Horn, laptop, Behringer audio interface, akg c414 & Sony Headphones.

  23. Q: What was your career path? How long have you been doing this?

  24. A: I have performed with orchestras since 2008 and in 2013 was trained by the U.S. Army in live sound reinforcement and eventually digital audio production. I continued to perform and record while freelancing in Houston in 2017 and now perform with the U.S. Air Force. I continue to record both as a freelancer and professionally with the U.S. Air Force.

  25. Q: How would you describe your style?

  26. A: Detailed and calculated.

  27. Q: Which artist would you like to work with and why?

  28. A: John Williams because he is a master cinematic orchestrator.

  29. Q: Can you share one music production tip?

  30. A: Have a setup for timing and tuning. Click tracks address timing and a preferred scale, mode, and tuning system (equal or just) address tuning. These things can sort of be fixed in post but it will add a lot of time to the project.

  31. Q: What type of music do you usually work on?

  32. A: Orchestral

  33. Q: What's your strongest skill?

  34. A: Working with others and being flexible.

  35. Q: What do you bring to a song?

  36. A: I am flexible and can work with many requests while maintaining a rich, easy to mix, studio-quality sound requiring little processing.

  37. Q: What's your typical work process?

  38. A: Recieve click track and/or project file. Drop track into Reaper or open project file (I have ProTools, Reaper & Logic Pro.) Record a couple of rehearsal takes then record the first iteration of the final take.

  39. Q: Tell us about your studio setup.

  40. A: I have a small room in my house that I have converted into a recording booth. I have a few mics to choose from but typically reach for my AKG c414 xlI. I mic the horn behind the bell and record through a Behringer umc202HD into Reaper. In Reaper, I process through Slate Digital plugins and export my audio from there. My recording rig separate from my mixing and mastering rig and is designed to be a mobile solution to allow me to record in bigger rooms if necessary. I have access to a medium-large, carpeted, and acoustically treated room, and a large church cathedral.

  41. Q: What other musicians or music production professionals inspire you?

  42. A: Richard Todd, James Thatcher, Allen Fogel

  43. Q: Describe the most common type of work you do for your clients.

  44. A: Cinematic, Film & TV Horn cues

Claude Lumley, High Horn Cue

I was the Performer & Audio Engineer in this production

GenresSounds Like
  • Houston Symphony
Gear Highlights
  • AKG c414
  • Neumann u87
  • Cascade Fathead
  • Behringer UMC202HD
More Photos