Frequently Asked Questions:
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Why should I hire you guys instead of another music/audio post house?

While all the awards in the lobby make a nice first impression, that’s not the reason. Is it because we’re the absolute, definitive best at what we do? Well, of course we’d like to say that. But compared to the giants of the industry – those we look up to, whose work inspires us – humility prevents it. We’re confident in our abilities. We’re just not into making extravagant claims.

We take our craft seriously and we’re constantly striving to improve. We like to have fun, too. Isn’t that the reason we all got into the business? It certainly wasn’t the short workweeks.

As for the studio and our technical capabilities, these days pretty much every shop sports some variation of the same gear. The difference is the players and what magic they work with those tools. Clients tell us they like the atmosphere, and we have the high quality equipment to get the job done.

With all that being said, here are two reasons to give us a try. Passion. And caring. While the quality of a piece of work can be subjective, these things never are. They’re either present or they aren’t. You won’t find a group of audio geeks who have more passion for the work and who care more about making your project the best it can be. That’s one claim we don’t mind making.

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How can I be sure I’m getting the best when you’re in Charlotte, North Carolina? Aren’t the best musicians in New York, Los Angeles or Nashville?

We won’t deny that the major music centers have more than their share of amazing players. But the fact is, in addition to a great pool of homegrown talent, many of our A-list singers and players once worked in those cities. They migrated here for the same reason we did – the Charlotte area offers a sensational quality of life. (Not to mention some of the best barbeque on the planet.) As a result, we have access to the same caliber of musicians.

Of course, with ISDN and other technologies, we have access to singers and players literally anywhere on the planet. But since we live and work here, we like supporting our local musicians. We’ve never had a producer from New York or L.A. tell us they’re disappointed. (And that includes the barbeque.)

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It’s great that you use live musicians. But what if I can’t afford that?

We always prefer to have live players in the mix. But we realize that modest production budgets and crushing deadlines often preclude this. That’s why we’ve invested in an enormous collection of the best sample libraries. We realize that sampled tracks have gotten a bad rap over the years. But we don’t think the problem is with the sounds – it’s with those who have little musical training and don’t know how to use these libraries effectively. Put a high quality sample collection like Vienna Symphonic Library in the hands of a novice and you get novice-like results. Give the same tool to someone who has actually written for the orchestra and you get an entirely different result. Hey, we’d love it if ALL sessions could be like our work with the London Symphony at Abbey Road – but not everyone has that kind of dough.

Simply put, whatever your budget is, whatever musical style is called for – we pull the stops out to make sure you get a musically satisfying, effective end result.

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How do you decide which composer works on my project?

We tried the Magic 8 Ball® in the break room, but we just weren’t getting specific answers. So we had to fall back on something that actually works. In everyday practice, Fred – as de facto Creative Director (see team bios) – steers the process. While each of our composers is fluent in practically any style, each certainly has particular strengths. This weighs into the equation, as well as practical considerations like how much work each guy has on his plate. Of course, existing relationships are the trump card. If you have a Concentrix composer you really like working with, we can almost always find a way to make that happen. On a further positive note, Fred is overcoming his tendency to nab the coolest gigs for himself.

Simply put, whatever your budget is, whatever musical style is called for – we pull the stops out to make sure you get a musically satisfying, effective end result.

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We’d like to license a popular song. Can you help?

Absolutely! We work with music licensing specialists on both coasts to help you obtain quotes from publishers and handle the legal details. Generally, we make an introduction and then let the experts take it from there. If the licensed song is part of a music project you’ve hired Concentrix to produce, we’re happy to take over most of those pesky administrative details for a small additional fee.

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When should the composer and audio post team become part of the process?

This question generally has one of three answers. 1) Early. 2) Earlier. 3) As early as humanly possible. Too often, music and sound design are afterthoughts. The sooner we can become part of the creative process, the more closely integrated all the elements can become. We live and breathe this stuff. We can help you explore possibilities and opportunities that might otherwise get overlooked.

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Why don’t you publish your rates on your website?

We do have standard rates for hourly rate services, as well as talent fees for voiceover and the like. However, most music projects are quoted as a project price – and that number is highly variable, depending on a number of factors. We also prefer day-rate or project price quotes for TV and film mixes. Why? Because in our experience, as soon as people start looking at the clock and worrying about costs, creativity goes right out the window. Sure, we need to make a profit. But we’re not into accounting for every nanosecond. To us, it’s a little disingenuous to say, “We’re your creative partners!” and then bill that extra quarter hour as an overage. Let’s dig in and make the work sing – whatever it takes. That’s our vibe. Luckily, we work with clients who don’t take advantage of it. Oh, and if you just need the rates, please call or email. It’s not like they’re secret or anything.

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I’m editing in hi-def. How do you deal with all the different video formats, frame rates, etc.?

I’m editing in hi-def. How do you deal with all the different video formats, frame rates, etc.?
HD. SD. 1080p. 1080i. 720p. Pull-up. Pull-down. Is the frame rate 24 or 23.976? It’s enough to make your head explode. With the proliferation of new video formats, potential for sync issues in audio post-production is becoming more of a problem every day. That’s why we work so hard to stay abreast of these issues and make sure we have the technical capability to deal with them. If Concentrix is doing the final audio mix, we like to get involved early. We’ll work with you and your editor on deliverables so that when it’s time for final layback, your splendid soundtrack will sync up beautifully. We’ve even created a handy guide, which you can download here.

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