Post Haste Digital Presents Music Slayer


Post Haste Digital is a full-service post facility located in West Los Angeles. Since opening their doors in 2003, the facility has successfully supported major studios and independents with their mastering needs.

As a boutique facility, Post Haste has a reputation for solving its clients’ problems. From handling legacy formats to native IMF (Interoperable Master Format) packaging, Post Haste continually remains cutting edge while continuing to preserve past technologies.

Post Haste developed a proprietary process called Music Slayer®. This revolutionary new technology digitally removes music from composite mixes when stems are not available.

“This is a great opportunity for content owners to monetize their catalogue, especially when audio changes are needed and stems are unavailable,” says Allan Falk, owner of Post Haste Digital. “Our Music Slayer process can cost-effectively remove unlicensed music from composite mixes, making it possible to then replace with approved music. This is opening up doors for many studios as they are now able to distribute their catalogue via all of the worldwide digital platforms, when previously they couldn’t due to expensive music licensing issues.”

In addition to utilizing Music Slayer for music licensing issues, Post Haste recently assisted Robert Thompson, President of The Music Sales Group / Schirmer Theatrical, which produces high-end screenings of films with live orchestra accompaniment. Thompson’s company licensed the classic 1964 feature film The Pink Panther from MGM Studios. They were approached by composer Henry Mancini’s family last fall to co-produce the world premiere screening of The Pink Panther with a live orchestra performance of Mancini’s iconic score.

However, with only a mono composite mix available for the film, Thompson contacted Post Haste Digital to see if their Music Slayer process would be able to assist without compromising the surrounding dialogue and effects. Falk suggested that Thompson come to Post Haste for a demonstration of what Music Slayer could accomplish. “I was very optimistic,” says Falk.  “We offered to perform a short demo of removing music from the composite mix from the feature, so Mr. Thompson could see and hear first-hand what we could achieve.”

Post Haste’s two lead Music Slayer editors, Justin Valenzuela and Ryan Faye, were excited about the opportunity to slay such a classic film as The Pink Panther. “When stems are not available and a manual extraction is required — which is normal with films from a certain era and was the case with The Pink Panther feature — the overall process can be very laborious. But it’s also very fulfilling when we accomplish a clean extraction,” says Justin Valenzuela. “The uses actually go beyond just music. Developing Music Slayer has changed the way we approach audio and re-mastering in general. This is a revolutionary process. I am very excited to utilize Music Slayer in the creation of immersive mixes when stems are not available, as it will be indispensable for isolating effects from composite mixes and placing them as objects in an object-based mix.”

“The modern digital era has opened a whole new world of possibilities when it comes to manipulating audio,” states Ryan Faye. “We are continually evolving our Music Slayer process to solve problems — not just with music extraction — that previously were not solvable.” Faye also comments, “Our work on The Pink Panther film required our most intensive level of extraction, what we refer to as a ‘manual extraction,’ and it ultimately yielded better than anticipated results.”

“Music Slayer really seems like magic,” says Brian Bartelt, Vice President and General Manager of Post Haste Digital. “We’ve been working with the process for about two years now, but every time we finish an extraction it still blows my mind. It just seems like it shouldn’t be possible — but hearing is believing.”

“The Pink Panther has one of the most iconic, most recognizable scores in film history — up there with the likes of Jaws and Star Wars. It’s a little funny, being excited about taking the music out,” says Bartelt. “But we’re so pleased to have been able to make this happen. Now that the film can be presented in this way — as a live event, with a live orchestra performing the score — it has the potential to bring the film to a new audience, to give it a new life. As someone who loves the music, it’s been very satisfying.”

Thompson came to Post Haste to hear the demo, and both he and the Post Haste team were thrilled with the results. “We’re usually reluctant to undertake projects where separate stems are not available, especially with an iconic film score like Mancini’s The Pink Panther. Scrubbing music from film is difficult, tedious, and the end result in live performance mixing dialogue/effects with orchestra is usually less than stellar,” says Thompson. “Post Haste showed us what they were doing with Music Slayer, and we were intrigued. When I previewed Post Haste’s work on The Pink Panther last December, I was stunned! Using Music Slayer, they were able to scrub the soundtrack and preserve the integrity and sound quality of dialogue and effects at a level I hadn’t seen before.”

Thompson adds, “Thanks to MGM, Post Haste, and Music Slayer, we’re now able to bring Henry Mancini’s brilliant, iconic score to life in screenings of the film with a live orchestra. Artistically, Music Slayer opens up a realm of creative possibilities when it comes to scrubbing music from films while preserving dialogue and effects.”

“When we developed Music Slayer, we never thought that it could be used in this capacity,” says Falk. “This process will open doors to perform live orchestrations with older productions that until now was impossible due to the lack of discrete source stems.”

Post Haste is very excited about Music Slayer and its potential. Please contact the Post Haste team for more information and to set up a tour of their facility and a demonstration of Music Slayer:

For an example of Music Slayer visit http://MusicSlayer.Digital


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