I've watched a lot of long eq videos for orchestral mockups. This is by far the most clear and concise one. Keep this type of tutorial format. Great job!
You earned a subscriber with this one ! I was having trouble with muddiness in some of my orchestral compositions, and I found your video completely at random while searching for reverb tips, but this has been so helpful and on point, thanks for your very precise explanations, one of the best videos on the matter I've seen so far !
Ahhhh! This has been suuuuper helpful! Tha ks so much! I've been over hyping everything and getting g a super loud mix.... its been doing my head in! Everyday is a school day! Reductive eq has been my epiphany today! Feel a bit silly I had overlooked this but wooop! Thanks!xxx
Thank you so much. I learned in a few minutes what I’ve been trying to figure out for a couple of years now. Specifically about the software instrument stacking the room noise. Now I can focus on learning EQ instead of cutting instruments. May I apply to be your student?
Hmmm you said that you preserve all low freq for the double bass but in your separate double bass video, you use high pass, since the most important for DBass is around 100hz?
I'm really late discovering this, but just a quick note to say "thank you, Marc" - what a generous and well explained presentation. I learned a lot, and I've been doing it a while! 🙏🏼
Hey Marc, you havent mentioned the drums, if you do very low high pass on dbass, where do you low cut the drums pls? If you leave it as it is with dbass, shouldnt they fight for the space a lot? When i am writting i always have problem deciding what should be more in the sub, bass or drums…
Hi Marc, I have different sample libraries. Some have their dynamics to "Symphonic" sound, in which they can do mezzo-piano, pianissimo while others like Albion One, East West Hollywood or Metropolis ARK 1 that can do higher dynamic range up to forte-fortissimo. My question is how (because sections were recorded separately) to set each individual section to match other sections instruments in a specific dynamic range so they can all have equal volume in each section and not go above others. Usually the default settings have the Violins section sounding way too loud. Thanks
Think you're over thinking this man. Just turn them up or down as necessary, or just stick to using one or two libraries if you're going for a more intimate, quiet sound
Here i have a doubt. After panning it blance rhe cello instead of equing it raise up the cello cause its in right and hirns are left so we can create that ckarity in balance guess so
This gentleman seems as though he is very knowledgeable and an expert in what he does. I have heard that he has courses that can be purchased. Has anyone on this post purchased a course from him and, if so, what is your opinion?
I did purchase a mixing course offered by Marc featuring legendary Dennis Sands - one of the most iconic orchestral mixers in Hollywood. Worth every penny !😊
Apart from Dennis Sands full mixing course (worth every penny 😊) this is best video covering the subject of muddiness on YT. Down to the point. No BS... And yes, FabFilter is a must !
Wow! From the Clarity of speech, the very condensed and well presented knowledge to the the whole production quality with the lighting, color grading, sound quality and the little tension music in the background. Literally EVERYTHING in this video is just outstanding. Bravo! 👏
Use Apple Headphones (Or other brands). Those listening skills will help you tremendously when learning from other composers music. With closed eyes you will hear it
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Hi Marc! Do you ever use mid-side eq to center the low frequencies? What's your opinion on that? Thanks!
No matter how much I try to equalize the horns they still put pressure on the ears, unless, of course they cut out the entire middle! And if you also write a part of short violas under them, it gets even worse_)
Sorry but a lot of this advice is misguided. You don't need to highpass everything, the phasing you create far outweighs the inaudible amount of room tone you'll remove. If you can't hear any issues in the lows of your mix you shouldn't be reaching for those highpasses. You should also cut/boost as much as a sound needs and not stop arbitrarily at 3db. If you move a microphone around a room you will get drastic changes in the spectrum far exceeding 3db, why would EQing be any different? Some rooms have large resonances that need cutting, some libraries have notes that are improperly balanced, you should cut and boost according to ear always whether you're going for a natural sound or not.
I've watched a lot of long eq videos for orchestral mockups. This is by far the most clear and concise one. Keep this type of tutorial format. Great job!
I agree! I feel some videos are way too long and I walk away still not really grasping anything. I learned so much here
Thank you sooo much for showing this! Your channel is really informative and to the point, more than any channel that I have seen. A big thank you!!!
You earned a subscriber with this one ! I was having trouble with muddiness in some of my orchestral compositions, and I found your video completely at random while searching for reverb tips, but this has been so helpful and on point, thanks for your very precise explanations, one of the best videos on the matter I've seen so far !
Ahhhh! This has been suuuuper helpful! Tha ks so much! I've been over hyping everything and getting g a super loud mix.... its been doing my head in!
Everyday is a school day!
Reductive eq has been my epiphany today! Feel a bit silly I had overlooked this but wooop! Thanks!xxx
I'm writing an orchestral track for my friend's birthday. I found your video just in time! Thanks! :3
wow, that is a great video, thx! can you name the sample-libraries that you use in this video? is there a list? thx again!
Thank you so much. I learned in a few minutes what I’ve been trying to figure out for a couple of years now. Specifically about the software instrument stacking the room noise. Now I can focus on learning EQ instead of cutting instruments. May I apply to be your student?
Hmmm you said that you preserve all low freq for the double bass but in your separate double bass video, you use high pass, since the most important for DBass is around 100hz?
Thank you Marc for sharing! A lot of hard work went into this and I greatly appreciate as do many others I'm sure.
Best tip was using eq on each track of the template instead of group track. A major difference. Thank you.
I'm really late discovering this, but just a quick note to say "thank you, Marc" - what a generous and well explained presentation. I learned a lot, and I've been doing it a while! 🙏🏼
Thanks for the comment Toby! Means a lot!! 🙏❤️
You have a great way of explaining things! You helped a lightbulb go on for me lol! Thank you
Great video! I’m curious… Why did you EQ the horns in order to hear the cellos and not the other way round?
Yes, but how we can unsterstand what kind of equalization every instrument needs?? Is there a chart for every single instrument ?
Hey Marc, you havent mentioned the drums, if you do very low high pass on dbass, where do you low cut the drums pls? If you leave it as it is with dbass, shouldnt they fight for the space a lot? When i am writting i always have problem deciding what should be more in the sub, bass or drums…
Hi Marc, I have different sample libraries. Some have their dynamics to "Symphonic" sound, in which they can do mezzo-piano, pianissimo while others like Albion One, East West Hollywood or Metropolis ARK 1 that can do higher dynamic range up to forte-fortissimo. My question is how (because sections were recorded separately) to set each individual section to match other sections instruments in a specific dynamic range so they can all have equal volume in each section and not go above others. Usually the default settings have the Violins section sounding way too loud. Thanks
Think you're over thinking this man. Just turn them up or down as necessary, or just stick to using one or two libraries if you're going for a more intimate, quiet sound
Excellent Mark! Thank you so much.
Thanks Marc!! Always so interresting!
Amazing video!. Now I need a video on Compression For Orchestral Mockups
😀
agree! 😍
Super helpful, Marc! Thank you for sharing these great tips!
outside of voice recording where closed headphones are needed, do you recommend open headphones for sound monitoring only?
Here i have a doubt. After panning it blance rhe cello instead of equing it raise up the cello cause its in right and hirns are left so we can create that ckarity in balance guess so
Great tutorial
Thank you sir, This is very detailed and very helpful.
This gentleman seems as though he is very knowledgeable and an expert in what he does. I have heard that he has courses that can be purchased. Has anyone on this post purchased a course from him and, if so, what is your opinion?
I did purchase a mixing course offered by Marc featuring legendary Dennis Sands - one of the most iconic orchestral mixers in Hollywood. Worth every penny !😊
Thank you so much for this! Really helped me approach mixing in a more efficient way
Can you use adaptive EQ to respond to what pitch you are using?
Apart from Dennis Sands full mixing course (worth every penny 😊) this is best video covering the subject of muddiness on YT. Down to the point. No BS... And yes, FabFilter is a must !
Wow, thanks!
Nice one, Marc.
Thank you!
It's precious tips... I'll use in my mixings... Thanks 👏👏👏🎵🎶
Oh wow thank you very much for this lesson really helpful 😊
Incredible work! Your content is really helpful.
Holy sh*t. This is so well explained and demonstrated. You are a legend.
Marc!! cuando haras clases en español??? Eres increible, veo todos tus videos
Wow! From the Clarity of speech, the very condensed and well presented knowledge to the the whole production quality with the lighting, color grading, sound quality and the little tension music in the background. Literally EVERYTHING in this video is just outstanding. Bravo! 👏
Thanks Tobias! It means a lot :)
Fantastic tutorial! Very helpful
These videos are wonderful and remind me of why I hire an expert to do this. I really cannot hear the things you hear!
Use Apple Headphones (Or other brands). Those listening skills will help you tremendously when learning from other composers music. With closed eyes you will hear it
Hi Marc! Do you ever use mid-side eq to center the low frequencies? What's your opinion on that? Thanks!
This was very useful. Thx for the video.
Thank You!
🙏🤍🙂
Many thanks Marc this was so helpful. 10/10 *****
Super helpful, thank you!!
Thanks; very instructive!
No matter how much I try to equalize the horns they still put pressure on the ears, unless, of course they cut out the entire middle!
And if you also write a part of short violas under them, it gets even worse_)
Hi marc, what strings r u using?
Very helpful
Excellent
Thank you.
How to use articulations?
Why this string sound so "Hiss" in high end??
man i love you
what string library is that?
following
Sorry but a lot of this advice is misguided. You don't need to highpass everything, the phasing you create far outweighs the inaudible amount of room tone you'll remove. If you can't hear any issues in the lows of your mix you shouldn't be reaching for those highpasses. You should also cut/boost as much as a sound needs and not stop arbitrarily at 3db. If you move a microphone around a room you will get drastic changes in the spectrum far exceeding 3db, why would EQing be any different? Some rooms have large resonances that need cutting, some libraries have notes that are improperly balanced, you should cut and boost according to ear always whether you're going for a natural sound or not.
Why and how does it create phase? Can you explain a little bit more, please
Wow!!!!
Thank you!