I'm Composer/Sound Designer with about 20 years of experience in audio post-production. I've worked with award-winning filmmakers and prestigious Ad agencies on numerous projects and my work has been recipient of ANDA and FIAP awards.
I provide original music scoring and audio post-production services for narrative films, documentaries and audiovisual projects in general. My services include Foley art, Sound design, Dialogue editing, Audio restoration and noise reduction, 5.1 Surround, Re-Recording Mixing, and anything else sound related you might need for your film.
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Interview with Antoine Øpeng
Q: What's your 'promise' to your clients?
A: That I'll do my best to translate their storytelling to the audience.
Q: What do you like most about your job?
A: Being surrounded by music and new sounds every day.
Q: What questions do customers most commonly ask you? What's your answer?
A: They ask for my rates, and it depends on what they want.
Q: What's the biggest misconception about what you do?
A: The huge amount of time we put into making things sounds great
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: An acoustic guitar, Sheet music notebook, and a pencil.
Q: How would you describe your style?
A: I like to combine classic production techniques and approaches with contemporary production values and modern gear.
Q: What type of music do you usually work on?
A: Cinematic Scores, Americana, Rock, Blues, Funk, Jazz.
Q: What's your strongest skill?
A: Being able to translate director's storytelling in terms of sound to the audience.
Q: What do you bring to a song?
A: A connection between the story, the sounds, and the listener.
Q: What's your typical work process?
A: With time, I've learned to approach every project in a different way. All projects are different and you have to find out what the project really needs from you, and how can you translate the emotions and the story of a song or a film more effectively.
Q: What are you working on at the moment?
A: I'm currently working on indie films as a composer or doing audio post.
Q: Analog or digital and why?
A: I used to be an analog snob but not anymore. Both worlds have advantages and disadvantages, all you need to do is know it and make it work for you. These days digital simulation of analog gear is pretty close to the real thing and having instant recall to do revisions of your mixes without touching a single fader is priceless.
Q: What questions do you ask prospective clients?
A: What they want from me, timelines, budget, expectations.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Research, do your homework, know what you want.
Q: What was your career path? How long have you been doing this?
A: I've been doing this for about 20 years now. I play guitar since I was 8yo, started playing in bands then I went to music production and engineering school and graduated in 2005. I've been working non stop with bands, composers, TV stations, as an independent film composer sound designer, teaching audio engineering and music production and even as an Acoustic consultant for recording studios construction.
Q: Which artist would you like to work with and why?
A: A creative artist who clearly understand why they need my services and are willing to listen to my input even if that means changing their original concept.
Q: Tell us about your studio setup.
A: Protools HD 12 based and 5.1 monitoring system. More plugins, guitars, and sound libraries than I can remember.
Q: What other musicians or music production professionals inspire you?
A: I really like the work of Phillip Glass, Gustavo Santaolalla, Ry Cooder, Daniel Lanois, and Robbie Roberson, among many others.
Q: Describe the most common type of work you do for your clients.
A: My work spectrum is pretty wide actually, from writing film scores to produce other artists. I'm also a dialogue editor, and sometimes I get some work as a session or live guitarist.