As a dummy in general music knowledge and music production. The way stuff explained is amazing, its easy to understand and grasp. Combined with minimalistic animation and graph.
Thank you so much, for these appreciative words. We are really trying and working hard to delivier enjoyable content of which people take something away. Let's hope for the ongoing support from you and the rest of the community.
The video is a Useful reminder of how sound is effected by so many different physical attributes, be it at the time of recording or when recreating sounds on the DAW later. I do also wonder about each person's perception of sound. Physically there is ear shape, but also over time our hearing decreases (peaks age 19 in males). So, do we all hear the same sounds / music? Not just volume/ intensity, but the timbre ...is that different for each of us.
Good question, Mark. I don't often think about it with sound actually, but I do a lot with colour - do we all see the same green? etc. Definitely as the quality of our hearing declines we're going to hear less of the high frequencies, and things aren't going to shine in the same way, but that could also be about distance too. I'm not sure it's as bad if you're listening to something on headphones vs. a live orchestra. That said, at a certain point, you're going to have to ask somebody younger if the triangle is too loud!
@alexlamymusic good explanation. I often wondered if musical taste is influenced by our hearing. For example, many people do not like the close harmonies of a brass band, yet are quite happy listening to a violin section attacking the strings with chainsaws (sort of). It would b3 so interesting to know if we do hear the same music.
Hey Tom. Yeah, it is really hard for samples to imitate the sound of a Solo String Instrument like the Cello. Would be the right time to bring a real solo Celloist in, right ? What do you think ?
Fun fact: the frame drum sounds so dramatically different in close range (lots of bass) because it doesn't have a back side. Normally bass frequencies from front and back of the membrane cancel each other on some distance around the drum (the distance depends on the membrane size and the wave length in question). But if you move your mic inside that distance, it starts picking up the "uncancelled" bass frequencies coming from the front of the membrane. Any drum with a closed frame design would not sound so different in the low frequncy range up close. Also keep in mind that the proximity effect of the cardioid mic adds a few dBs to the bass too, but that's another, unrelated phenomenon.
Hello and thank you for the really interesting and informative videos. I have a question however: What is the influence of the stereo width on the diffusion of the sound? I understand that the volume and timbre change with the positioning of the instrument but it seems to me that the stereo width is different too. Is it fair to think that a sound (i.e horn section) is more "stereo" when it's close and more "mono" when it's far away? or is it the opposite? Thanks again and sorry for my English which is not my language. Google translator is my friend :)
Hey Samy, great question. I think you're basically right that the stereo image is affected by distance, but I wouldn't say things are more mono when they're further away, they're just more cohesive, or together. They blend better because you're giving all of the waves and frequencies created by an instrument time to bounce around off of other surfaces, and combine together (if they're a section). They're still very stereo, but of course, as you get closer, then they become wider apart and easier to distinguish. When talking about stereo, we're basically talking about recording and mixing, and so the stereo field is artificial. You can have the close mics, or a close ORTF pair for a horn section in the mix, as well as the Tree, and the Surrounds, and so on. But you don't have to pan the close mics across the entire left-to-right range, or pan the two mics of an ORTF pair hard left and hard right. You still have the ability to position them, and what you get by adding them is clarity of sound, more top end, more immediacy and transients, compared to the a more blended, evened out sound in the more distant mics. In a way they are more 'mono' as you get closer, because they're more individual, but you can still record close with a stereo mic setup So in the end you have a choice. You may want your 4 horns to be very close and distinctly apart from each other across the stereo image, and so you might choose to record them that way, or pan the spot mics of the samples in that way (a bit like the woodwinds in the middle section of the track in this video). Width and depth are not necessarily related.
@@alexlamymusic Thanks for answering this tricky question. I'm sure your opinion will help me in my progress. Looking forward to seeing more videos. All the best ;)
Hello, dear creators of this amazing content ! I can't imagine if your lessons had been placed in my mouth ?! I'd probably be drinking tea with Hans Zimmer right now ) Sincerely, Yaroslav Kniazev
I think that might make it a bit too much like a tech demo. The idea was to make music that had the intention of being in different sonic perspectives. I wouldn't have written the last (far sonic perspective) section if I knew all I had available were spot mics - I just wouldn't want that sound.
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Did not expect the realism/existential crisis of 'what is real' from an orchestration video. Great work Alex. :)
Thanks, Sam! I'm deeply invested in the existential crisis of music 😂
Thank You Very Much!
🙂🙏
one of the best explanations I ever got!!! thx
Glad it helped! Thank you Udo for your comments!
Great video!
As a dummy in general music knowledge and music production. The way stuff explained is amazing, its easy to understand and grasp. Combined with minimalistic animation and graph.
Hey Adam. Thank you so much that you like our presentation of knowledge and also our motion graphics 🎨🎨🎨.
The content and the quality of the production is so great yet again, this channel is going to be big!
Thank you so much, for these appreciative words. We are really trying and working hard to delivier enjoyable content of which people take something away. Let's hope for the ongoing support from you and the rest of the community.
Wow that demo was beautiful
Thank you! :)
It sure is.
The video is a Useful reminder of how sound is effected by so many different physical attributes, be it at the time of recording or when recreating sounds on the DAW later.
I do also wonder about each person's perception of sound. Physically there is ear shape, but also over time our hearing decreases (peaks age 19 in males). So, do we all hear the same sounds / music? Not just volume/ intensity, but the timbre ...is that different for each of us.
Good question, Mark. I don't often think about it with sound actually, but I do a lot with colour - do we all see the same green? etc. Definitely as the quality of our hearing declines we're going to hear less of the high frequencies, and things aren't going to shine in the same way, but that could also be about distance too. I'm not sure it's as bad if you're listening to something on headphones vs. a live orchestra. That said, at a certain point, you're going to have to ask somebody younger if the triangle is too loud!
@alexlamymusic good explanation. I often wondered if musical taste is influenced by our hearing. For example, many people do not like the close harmonies of a brass band, yet are quite happy listening to a violin section attacking the strings with chainsaws (sort of). It would b3 so interesting to know if we do hear the same music.
That solo cello sounds very synthy to me.
Hey Tom. Yeah, it is really hard for samples to imitate the sound of a Solo String Instrument like the Cello. Would be the right time to bring a real solo Celloist in, right ? What do you think ?
This series is brilliant!!!
Cheers, Claude!
Fun fact: the frame drum sounds so dramatically different in close range (lots of bass) because it doesn't have a back side. Normally bass frequencies from front and back of the membrane cancel each other on some distance around the drum (the distance depends on the membrane size and the wave length in question). But if you move your mic inside that distance, it starts picking up the "uncancelled" bass frequencies coming from the front of the membrane. Any drum with a closed frame design would not sound so different in the low frequncy range up close.
Also keep in mind that the proximity effect of the cardioid mic adds a few dBs to the bass too, but that's another, unrelated phenomenon.
I can't help but think that he is the composer version of Tom Holland 😅
Very informative video, you guys do great topics!
We’ve never been seen in the same room together. Just saying 😜
Hello and thank you for the really interesting and informative videos.
I have a question however: What is the influence of the stereo width on the diffusion of the sound?
I understand that the volume and timbre change with the positioning of the instrument but it seems to me that the stereo width is different too.
Is it fair to think that a sound (i.e horn section) is more "stereo" when it's close and more "mono" when it's far away? or is it the opposite?
Thanks again and sorry for my English which is not my language. Google translator is my friend :)
Hey Samy, great question. I think you're basically right that the stereo image is affected by distance, but I wouldn't say things are more mono when they're further away, they're just more cohesive, or together. They blend better because you're giving all of the waves and frequencies created by an instrument time to bounce around off of other surfaces, and combine together (if they're a section). They're still very stereo, but of course, as you get closer, then they become wider apart and easier to distinguish. When talking about stereo, we're basically talking about recording and mixing, and so the stereo field is artificial. You can have the close mics, or a close ORTF pair for a horn section in the mix, as well as the Tree, and the Surrounds, and so on. But you don't have to pan the close mics across the entire left-to-right range, or pan the two mics of an ORTF pair hard left and hard right. You still have the ability to position them, and what you get by adding them is clarity of sound, more top end, more immediacy and transients, compared to the a more blended, evened out sound in the more distant mics. In a way they are more 'mono' as you get closer, because they're more individual, but you can still record close with a stereo mic setup
So in the end you have a choice. You may want your 4 horns to be very close and distinctly apart from each other across the stereo image, and so you might choose to record them that way, or pan the spot mics of the samples in that way (a bit like the woodwinds in the middle section of the track in this video). Width and depth are not necessarily related.
@@alexlamymusic Thanks for answering this tricky question.
I'm sure your opinion will help me in my progress.
Looking forward to seeing more videos.
All the best ;)
I’m expecting you to play something nice for us on the trumpet at the end of this series
I wouldn't put a bet on it... 🤣
@@alexlamymusic haha there’s always hope! Love the series anyhow, very well-made and educational. I hope it never ends
Well in contrast to @alexlamymusic I think that would be delightful as well ;) Cheers, Alex.
Hello, dear creators of this amazing content !
I can't imagine if your lessons had been placed in my mouth ?!
I'd probably be drinking tea with Hans Zimmer right now )
Sincerely, Yaroslav Kniazev
He's definitely a coffee guy! 😉
Would have been better to use the same bars of music for each selection.
I think that might make it a bit too much like a tech demo. The idea was to make music that had the intention of being in different sonic perspectives. I wouldn't have written the last (far sonic perspective) section if I knew all I had available were spot mics - I just wouldn't want that sound.
my favourite channel to learn music from 🤌