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Working with multiple tracks > Working with multiple tracks - Pg. 508

Cutting Sound and Working with Multiple tracks One of the things that I try to hold on to is some sort of creative constraint. For example, one of those creative constraints might be: "I'm going to only give myself eight chan- nels to edit" . . . and if I can't make something interesting in that eight channels, I am going to get rid of something and replace it with something else until I get something that is, in fact, interesting. And the reason why that's an important way to work is that it helps you focus on what the music and the sound is truly about. Because if you can't figure out the essence of "what it's about" within a creative constraint of a minimum amount of channels then you're probably doing something wrong. Ren Klyce (sound designer, Panic Room, Fight Club, The Social Network) (From DVD extras, Panic Room, 2002) 23 Chapter Working With multiple tracks In the previous chapter we defined a film's sound design as the complete aural impression