In this studio rehearsal for the film‑score piece “16 and 11 – Happy Birthday Eve,” conductor Brooke Richey guides a string ensemble through the cues, tempos, dynamics, and technical logistics needed for the recording. She explains narrative context (the mother racing to retrieve a serum), clarifies bar‑by‑bar markings (e.g., bar 16 for violas, spare books, spare bows), and outlines tempo changes (starting at 64 BPM for four‑five measures, shifting to 90 BPM at bar 27 and again at bar 36). Richey answers musicians’ questions about beat placement, dynamics (pseudo‑forte on beat 3, crescendo to fortissimo, ignoring a written “flotando”), and articulation. The session also addresses a studio‑room issue where a beam microphone drops, prompting adjustments to mic placement and compression of the final eighth‑note group. Throughout, the dialogue is collaborative, with repeated cues, confirmations, and quick fixes, culminating in a final run‑through of the piece.
Chapters
Hello everyone, my name is Brooke Richey. This is 16 and 11 save the serum. At this point in the film, the mother character, you know, is trying to save her and her baby's life and her baby's life by going and getting the serum that she created. Clears the virus thing. Um, a few things, uh, viewers, in bar 16, uh, there should be a marking, random quick notes, Colleen Young. In bar 16, there should be a marking for you, random quick notes, Colleen Young, and that goes through bar 17. So it's Colleen Young? Yes. Do you all have your spare books? Violins 1, 2, and violas bar 16. I know it's not written in the inner scheme, but bar 16 is going to be for violas. Yes. You'll want to— you'll also want to start with— if you have your spare bow, you'll want to start with that bow. Violins, you should be able to pick up at bar 11, and the next time you're all able to start Switch back to bar 20. We are starting at 64 BPM for 4, 5 measures. The warning clicks in 4 will be pretty fairly quick, so it's pretty much a 3, 1, 2, 3, 4 going into bar 6. Our next tempo change is at bar 27, 90 BPM, so listen for beat 2, watch for beat 2. And our next tempo change is bar 36, and that's going quickly into it, so watch for beat 2 again. Any questions before we get started? Yes. In measure 13, Yep. Do we get to the D on the second beat? Yes.
Yeah.
Wait, I'm sorry. On the second beat? On beat 3. On beat 3?
Yeah.
So it should be 1, 2, and then whatever beat you're on. Yes.
Question on the bass part?
Yes.
Our 18 got a crescendo to fortissimo in 19 with a glissando beat what? Flotando written one at the top. That's not going to really happen. Did you have a different thing in mind? The flotando is going to not happen.
Ignore the flotando.
I'm sorry about that. That's okay. Thanks.
Yes.
Okay.
Yes.
Okay.
Six free, and two, three, one, two. 28. 28. Yeah, thank you. 28. 28.
28. Can you see?
There's 4. I'm coming in on 2. My, my baton is coming in on 2. Oh, you're not seeing it?
Yeah.
Measure 5. Is there, is Is that forte, a pseudo forte on the 3rd beat? Yes, it is.
Control room, hold on one minute because we got a mic situation. One of those beam mics fell a little bit.
So same figure as the last cue.
The second note is, is he elevated? I just want to be pretty even.
Yeah, be nice. Can you make it tilt? Yeah. Okay, cool. Good.
Good. She can get it down. Thanks, Dad.
All right. 6-3 and— 1, 2, 3. 1, 2.
1, 2, 3. Yeah.
Yeah. Okay.
Let me know if this needs to be even louder. I'll probably go over.
Okay. Can you just take it from 27? So 4, 3. 6 free, again. 1, 2, 3, 1, 2. At the three-four.
I can make it louder.
Thirty-six. Thirty-seven. Yes.
We're compressing the last three eighth notes of thirty-seven as well, or crushing. We're good?
Again, from 27, 4-3. All right, thank you. We have time for one more.
Sure.
Wonderful. Okay. One more time from the top. 6, 3, and 1, 2, 3, 1, 2.
