Yoo, thanks so much! Just purchased 4 libraries of your website and stumbled across this series... ⤵ I am a EDM Producer, who kind of wants to dig more into hybrid/orchestral stuff and I personally find the hardest thing for me is the "how tf do I come up with a chord progression, do I need to stay in one key, are there rules in terms of scales. just go by ear, how to form triad chords into big orchestral scores, can these chords have keys from outside the scale" etc. 🤯 If someone would do a detailed and high-quality video about that I think I (and def. many others as I've found out) would be really grateful 🧡
Thank you for this series, looking forward to the next! 😊 Different styles of orchestration would be great, such as different instrumentation for fantasy, drama, sci-fi, etc.
This series was amazing! I especially liked Ep. 8 because mixing orchestral music in Cubase is something I've been wanting to learn. Thanks for sharing :)
What is the idea behind having a separate Master and Stereo Out channel? As far as I was aware, I thought the Stereo Out channel WAS effectively the "master track" where everything is ultimately routed to? Even in your project, your Master channel routes to the Stereo Out.
That's a great question - you absolutely could use the Stereo Out as the Master and not have the Master channel. I've found it useful over the years for a few reasons. Firstly, if I have reference tracks (other people's tracks I want to compare my own with), I sometimes put them into the project to check them against my own track. If they go through the Stereo Out and that has all the mastering plugins on it, that reference track would also be affected by those mastering plugins, which would alter the audio. The second is that I'll often be doing sound design inside my project - rendering out audio, adding modulation and FX and mangling the audio to create new pads or sounds. Often I want to do this outside of my mastering chain, so that I can hear the audio "raw" and gauge what changes I'm making. Thirdly, if I'm working on a project that has, for example, sound effects, or dialogue, or some other audio (for example a film that may have a dialogue track), using the Master let's me separate out music from other things. I could create a Master channel, a Dialogue channel, an FX channel etc. It's personal preference ultimately! But for me, I've found having the Master channel allows me more flexibility and have gotten used to working that way. But going direct to the Stereo Out is also a perfectly valid way to work!
I'm really looking forward to some woodwinds from this company. You guys have strings and brass and even percussion and choir that sounds fantastic! But orchestra woodwinds are very much needed, especially with legato. Nucleus is kind of lacking the rest of the articulations that are needed. At the same time, solo likes the dynamic energy, but it's good for intimate writing. You guys are just missing orchestra woodwinds that fit perfectly in the middle of this entire series of libraries.
Cool stuff AI, but unfortunately most mixing tutorials or courses I came across failed to tell me when and why to use compressor and EQ. I know what is compressor and EQ but I just don't know when and why to use them. And the hundreds of different opinions of professionals make it even worse. Some say, sample libs are compressed and EQ'ed out of the box by the developers. Others say, you mainly need compressor on drums/percussion only. And Others say, no you also need it on brass, not just percussion. And now, I see you put a MB compressor on the woodwinds. About EQ, some engineers say, you need it on every track. Others say, you only need it when you really need it which adds extra layer of vagueness. And others say, you don't need mixing AT ALL if your arrangement is good but I see tons of pro composers use tons of mixing on their tracks, so does it mean that their arrangements are BAD? Although I learned from tons of tips and advices, I still find them not applied by every engineer which makes me feel that they're not general tips and advices. And everyone is different in the end. The fact that there are no rules or best practices in mixing makes it hard to nail. So, I admit it, even though I've been composing for 3 years now, have 15 tracks accepted by both non-exclusive and exclusive music libraries, I'm still struggling with mixing and mastering till this moment.
There is a order for a reason. Anyone who studied music will have hard time following this order of instruments, and who learn like this will have a hard time improving score reading later. Don’t be like Yousician reinventing centuries of development please… You can change the order only if you explain a good reason for it, or when you are not teaching and feel that the order helps your associations - here is even a good idea! For example to put the piano before the strings when it is a score reduction. Otherwise it is just distracting for the educated student, or misleading for the beginner. A professionell mixer of orchestral music has to follow standard scores and to read dynamics and articulations, so it helps if one keeps the same standard also for mixing templates. The rest is all very good
There are plenty of composers that don't follow the traditional score order in their DAW template. If the music is to get orchestrated and recorded, the orchestrator will take care of laying it out on the page accordingly.
The status quo is not always the best. Those that take risks drive innovation and new ideas, those that stick to a "standard" will be left behind and are those that are also against change. This applies to everything and your statement of "educated student" just shows the lack of tolerance in today's society and up and coming professionals. A great and true professional can work around anything.
rlly helpfull stuff for beginners! i have a question, do u recommend to disable the built in reverb in Nucleus when using a conv. reverb like east west spaces?
![SAFEPLANET - ดาวเคราะห์ [ THE PLANET ]](http://i.ytimg.com/vi/4X1XL3I_k3c/mqdefault.jpg)
Yoo, thanks so much! Just purchased 4 libraries of your website and stumbled across this series... ⤵
I am a EDM Producer, who kind of wants to dig more into hybrid/orchestral stuff and I personally find the hardest thing for me is the "how tf do I come up with a chord progression, do I need to stay in one key, are there rules in terms of scales. just go by ear, how to form triad chords into big orchestral scores, can these chords have keys from outside the scale" etc. 🤯
If someone would do a detailed and high-quality video about that I think I (and def. many others as I've found out) would be really grateful
🧡
Thank you for this series, looking forward to the next! 😊 Different styles of orchestration would be great, such as different instrumentation for fantasy, drama, sci-fi, etc.
Thanks, great suggestion!
This series was amazing! I especially liked Ep. 8 because mixing orchestral music in Cubase is something I've been wanting to learn. Thanks for sharing :)
Really helpful and interesting series from start to finish and I'm so glad to hear you guys will be doing more, many thanks!
Great series! Thank you so much!
What is the idea behind having a separate Master and Stereo Out channel? As far as I was aware, I thought the Stereo Out channel WAS effectively the "master track" where everything is ultimately routed to? Even in your project, your Master channel routes to the Stereo Out.
That's a great question - you absolutely could use the Stereo Out as the Master and not have the Master channel. I've found it useful over the years for a few reasons. Firstly, if I have reference tracks (other people's tracks I want to compare my own with), I sometimes put them into the project to check them against my own track. If they go through the Stereo Out and that has all the mastering plugins on it, that reference track would also be affected by those mastering plugins, which would alter the audio.
The second is that I'll often be doing sound design inside my project - rendering out audio, adding modulation and FX and mangling the audio to create new pads or sounds. Often I want to do this outside of my mastering chain, so that I can hear the audio "raw" and gauge what changes I'm making.
Thirdly, if I'm working on a project that has, for example, sound effects, or dialogue, or some other audio (for example a film that may have a dialogue track), using the Master let's me separate out music from other things. I could create a Master channel, a Dialogue channel, an FX channel etc.
It's personal preference ultimately! But for me, I've found having the Master channel allows me more flexibility and have gotten used to working that way. But going direct to the Stereo Out is also a perfectly valid way to work!
It’ll be fun to talk more about this and compare Adam’s setup to mine 😉
great video, thanks!
I am a new Nucleus user. Thank you for these great tutorials!
I'm really looking forward to some woodwinds from this company. You guys have strings and brass and even percussion and choir that sounds fantastic! But orchestra woodwinds are very much needed, especially with legato. Nucleus is kind of lacking the rest of the articulations that are needed. At the same time, solo likes the dynamic energy, but it's good for intimate writing. You guys are just missing orchestra woodwinds that fit perfectly in the middle of this entire series of libraries.
Can we have the project files? :D
supper!this is pro . see you later-
Cool stuff AI, but unfortunately most mixing tutorials or courses I came across failed to tell me when and why to use compressor and EQ. I know what is compressor and EQ but I just don't know when and why to use them. And the hundreds of different opinions of professionals make it even worse. Some say, sample libs are compressed and EQ'ed out of the box by the developers. Others say, you mainly need compressor on drums/percussion only. And Others say, no you also need it on brass, not just percussion. And now, I see you put a MB compressor on the woodwinds.
About EQ, some engineers say, you need it on every track. Others say, you only need it when you really need it which adds extra layer of vagueness. And others say, you don't need mixing AT ALL if your arrangement is good but I see tons of pro composers use tons of mixing on their tracks, so does it mean that their arrangements are BAD? Although I learned from tons of tips and advices, I still find them not applied by every engineer which makes me feel that they're not general tips and advices. And everyone is different in the end.
The fact that there are no rules or best practices in mixing makes it hard to nail. So, I admit it, even though I've been composing for 3 years now, have 15 tracks accepted by both non-exclusive and exclusive music libraries, I'm still struggling with mixing and mastering till this moment.
There is a order for a reason. Anyone who studied music will have hard time following this order of instruments, and who learn like this will have a hard time improving score reading later. Don’t be like Yousician reinventing centuries of development please… You can change the order only if you explain a good reason for it, or when you are not teaching and feel that the order helps your associations - here is even a good idea! For example to put the piano before the strings when it is a score reduction. Otherwise it is just distracting for the educated student, or misleading for the beginner. A professionell mixer of orchestral music has to follow standard scores and to read dynamics and articulations, so it helps if one keeps the same standard also for mixing templates.
The rest is all very good
There are plenty of composers that don't follow the traditional score order in their DAW template. If the music is to get orchestrated and recorded, the orchestrator will take care of laying it out on the page accordingly.
All that matters is how good your music to the listeners.
The status quo is not always the best. Those that take risks drive innovation and new ideas, those that stick to a "standard" will be left behind and are those that are also against change. This applies to everything and your statement of "educated student" just shows the lack of tolerance in today's society and up and coming professionals. A great and true professional can work around anything.
rlly helpfull stuff for beginners!
i have a question, do u recommend to disable the built in reverb in Nucleus when using a conv. reverb like east west spaces?