“We’ve been having that happen a little bit with orchestral stuff, too, a couple scores we recently did. The intention was just dropping some Spitfire strings to mock-up something and then when it’s time to do it for real, after you’ve spent a fuck-load of money and add 1,000 people in and an orchestrator and you record it you go, ‘It’s cool… but I kind of liked the way that other one sounded, it was also excellently recorded.’ You know what I mean? And I liked the fact that we’re treating it as sound. We’re not approaching an orchestra like, ‘listen to the sweeping way the strings-‘ it’s mainly, ‘does it sound fucking cool?’ Yes. I like having the control of something I know that I can manipulate the way I want.”
brettworks 
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