Anthony Plog on Music

In Part 2, we discuss some ways in which digitization has greatly changed how music sound tracks for films are recorded. We also discuss nerves, why it's crucial to be a confident player, getting started as a newly arrived player in Los Angeles, and what it is like to record with John Williams.

The life of a recording musician varies from day to day, so Jon and Bill talk about how they balance their schedules, how they work to be consistent players, and why "egos must be checked at the door."

Jon Lewis and Bill Booth are two of the top brass players in the Hollywood film recording scene. For many years, they have recorded with the top Hollywood film composers, and in our conversation we discuss the many aspects of what it means to be a first call player in the Hollywood studio scene.

In Part 1 of our conversation, Jon and Bill take us through the process of being a studio musician, including how sessions are arranged, finances managed, the importance of being a great sight reader, what a studio contractor does, and their experiences recording the Matrix movies.

Jon Lewis and Bill Booth are two of the top brass players in the Hollywood film recording scene. For many years, they have recorded with the top Hollywood film composers, and in our conversation we discuss the many aspects of what it means to be a first call player in the Hollywood studio scene.

In Part 1 of our conversation, Jon and Bill take us through the process of being a studio musician, including how sessions are arranged, finances managed, the importance of being a great sight reader, what a studio contractor does, and their experiences recording the Matrix movies.

After playing with the Chicago Symphony Orchestra, David moved to the Detroit Symphony where he was principal horn. During his time in Detroit, he was a founding member of the rock group, “Symphonic Metamorphosis”, had an interesting recording experience with Marvin Gay, and continued his interesting relationship with Arthur Fielder. He then won his dream job with the San Fransisco Symphony and worked with music directors Seiji Ozawa, Edo de Waart, Herbert Blomstedt, and Michael Tilson Thomas.

After playing with the Chicago Symphony Orchestra, David moved to the Detroit Symphony where he was principal horn. During his time in Detroit, he was a founding member of the rock group, “Symphonic Metamorphosis”, had an interesting recording experience with Marvin Gay, and continued his interesting relationship with Arthur Fielder. He then won his dream job with the San Fransisco Symphony and worked with music directors Seiji Ozawa, Edo de Waart, Herbert Blomstedt, and Michael Tilson Thomas.

David Krehbiel has had an extraordinary career and life as one of the great horn players of his time. Joining the Chicago Symphony as associate first horn and sitting next to his teacher Phillip Farkas, he later became principal horn of the Detroit Symphony and ended his career as principal of the San Francisco Symphony. His autobiography, Through the Door: A Horn Player’s Journey, was recently released, and in our conversation David recounts many of the interesting (and funny) stories from the book. In addition to all of his experiences as an orchestral and chamber player, David was also Chair of the Brass Department at the San Francisco Conservatory of Music.

David Krehbiel has had an extraordinary career and life as one of the great horn players of his time. Joining the Chicago Symphony as associate first horn and sitting next to his teacher Phillip Farkas, he later became principal horn of the Detroit Symphony and ended his career as principal of the San Francisco Symphony. His autobiography, Through the Door: A Horn Player’s Journey, was recently released, and in our conversation David recounts many of the interesting (and funny) stories from the book. In addition to all of his experiences as an orchestral and chamber player, David was also Chair of the Brass Department at the San Francisco Conservatory of Music.