Anne-Lena Ekström – Elsker, elsker ikke

Release of Anne-Lena’s single. Produced and recorded at Apparat Studios. Enjoy!

Musicians
Drums: Jonas Lundberg
Bass, guitar & keyboards: Pär Edwardson
Backup vocals: Anne-Lena Ekström, Pär Edvardson
Turkish finger cymbal: Fredrik Lidin
Handclaps: Fredrik Lidin, Anne-Lena Ekström

Producer: Fredrik Lidin
The song is written by: Chris Påhlman/Fredrik Lidin/Pär Edwardson/Anne-Lena Ekström

Listen on Spotify:

Our Mission – Composing for Film

Whatever projects we’re working on, we always try to express something meaningful, beautiful, relevant and hopefully, personal with our music. We like to work together, feeding of each others ideas and strengths, but we can just as well work independently, depending on the project at hand. Either way, we always have the creative support of the group, which is very helpful for a successful end result.

We’d like to help you at every stage of the film making process. We think it’s a good thing to be a part of the process early on, but we are very used to adapt our workflow to suit your current needs.

We have composed music scores for film and television since 1998. In these projects our task has been to tell the “unseen story” with music, e.g. emphasize emotions, build expectations, frighten and surprise. We have a strong grasp of storytelling and can help the director and producer to express their story musically. We think that a thorough spotting session is a good starting point for a fruitful and successful scoring of a film. That way, the director, producer and composer, can lay the foundation for the score; Which mood and what meaning should the music have? Where should it start and stop? When should there be silence?

We can also help you with source music, such as music in restaurants and clubs, songs on radio and tunes that are performed by the actors.

The ability to make a believable orchestral mockup or music demo, is a valuable tool when discussing the score. When you have good representation early in the process, of the possible end result, it is much easier for everybody to give relevant feedback to the ideas presented. You can listen to en example of an orchestral mockup here. We take pride in delivering relevant and good sounding music demos and orchestral mockups. A believable mockup is also very helpful for the orchestrator/copyist, producing sheet music, and the recording engineer, capturing the music.

Our experience and understanding of sound design (foley, SFX, atmosphere, etc) also helps us make a better score that will fit nicely with the rest of the sounds in the film. We like to cooperate and correspond with the post-production sound department, to make sure that our efforts doesn’t collide.

At the end of the scoring process, we mix, master and label the music-files. We deliver stereo mixes, 5.1 mixes or STEMS in any desired format.

In our career we have scored a large number of feature films such as “Miraklet i Viskan”, “Prästen i paradiset”, “Irene Huss” and “Maria Wern”. We also have composed for Swedish Television. TV-dramas like “Kniven i hjärtat”, “Saltön”, “STHLM” and “Möbelhandlarens Dotter”.

Our employers have been; Zodiac, Eyeworks, SVT Drama, Fundament Film, TV4 Drama, Yellowbird, Moviemakers, Götafilm, Giraff film, Garage film, Illusion film, among others.

Our Mission – Recording

Time to make it personal?
We like to create and design our own sounds as much as possible. Whether it’s a soundscape for a film, or recording songs for artists, it’s important for us to always make it personal.
Our goal is to do something different than just selecting presets of somebody else’s music or musical intentions.

Over the years we have actually accumulated something of a sound library ourselves. We have lots of unused samples of rhythms, fx and various instruments.

If time is a factor and the deadline looms over our heads, we can at least browse through our own presets, for a quick and customized result.

We like to experiment with all sorts of gadgets, like the Agafon from the 40’s, to create interesting sounds and rhythms. We also like to capture our ideas in the best possible way. We like to use michprophones such as: Schoeps CMC-65, Neumann USM69, Gefell UMT70, AKG C-414, Neumann TLM184, Heil Sound, Electro-Voice RE-320, Shure, Neumann TLM170, Sennheiser, etc…

Studio

We try to make the place as functional and creative as possible.

MAIN STUDIO

Main recording, mixing, and mastering room. This is the place where many of our productions get the final touch. It is equipped with a comfy sofa where you can relax and enjoy watching and commenting on the movie. We also have a matching popcorn machine. ;)

Technical stuff:
  • Accurate sync to picture displayed on a big screen, Full HD, LED monitor
  • 5.1 mixing and monitoring with Genelec 1031A + Genelec 7070 subwoofer
  • Acoustically treated by Eora Sound Engineering
  • Computer power from two custom built XI-Machines and a Mac
  • Nice, analog outboard, such as UAD 1776, Lexicon and preamps by API, SSL and Harrison
  • Easy hands-on-mixing and DAW-control is done with Nucleus
  • Mixing with the power of SSL’s legendary sound tools, UAD, Algorithmix, FabFilter, BrainWorx, Oxford and others
  • Editing and syncing to picture is done in SSL Soundscape. Midi is handled by Logic Pro X. Reaper is used for additional tasks and ProTools is used for compatibility

LIVE RECORDING ROOM

This is obviously where most of the recording takes place. Plenty of room for a five-piece band to sweat out some great music. It has a very tight sound with a short but balanced ambience. Adjacent you’ll find two smaller booths for separated audio sources during recording sessions. Audio connections to all studios are installed for flexible setups. The room is also blessed with plenty of sunlight…

Technical Stuff:
  • Acoustically treated with diffusors and absorbents
  • Microphones such as AKG (C414), Schoeps (CMC-64 & CMC-65), Neumann (TLM170, USM69, TLM103, KM184), Sennheiser (MD421, E906, E904, MKH 416), Heil Sound (PR 40), Gefell (UMT170S), Shure (BETA 91A, SM7 B, BETA52, SM57, SM58), Beyerdynamic (TG I50d), Electro-Voice (RE320)
  • 4 x 8ch individual monitoring
  • Lots of microphone stands and custom-made quality cables ;)

MIX STUDIO

The ProTools suite. The place for music editing and mixing. Music’s being mixed either ”in-the-box” with ProTools or with the help of some nice hardware outboard, such as the Studer console.

Technical Stuff:
  • Mac Pro
  • ProTools HD
  • Roister monitors
  • Studer 12ch analog console

PROJECT STUDIO

Studio for smaller projects and composition. This is a place for working fast and quickly realize musical ideas. It can also serve as a fast editing/mockup studio, when reviewing cues in the main control room. It allows us to work in parallell. For example; During a spotting session in the Main Control Room, one of us can use this studio to produce fast mockups of the ideas discussed. These mockups are then sent to the Main Control Room for further review and/or approval. A very efficent workflow.

Technical Stuff:
  • Logic Pro X and SSL Soundscape
  • Vienna Symphonic Library
  • API & RME pre-amps
  • Genelec 8030 monitoring