Thanks for a great tutorial! Section-specific mixing tips is something I'd love to see more of please. In general I'm trying to learn more about how to achieve particular styles of orchestral mixes for genre scoring...
Fantastic tutorial Paul, many thanks for taking the time putting this together. Particularly timely as I picked up the SSO yesterday (love the sound of Air), but will play around with these tips on both SSO and BBCSO Core. Invaluable to someone like me at this early stage of my composing journey.
Nice! I like that satisfied look at 13:45. It's helpful to put the "sizzle" through a send and then use automation to control the level of the send so you can go from really calm and smooth to way over the top angry sizzle. Sometimes I add some distortion (not a lot) on the Aux channel to add some more sound information at the upper frequencies. Nice stuff.
Jayden - they are coming back! They're held up until we're finished with the update - I'll post up soon when I know a more precise date. It will be worth the wait!
Love this Paul this is exactly what I was looking for! It’s also great to see shout-outs to other developers in the community as well as Spitfire. Looking forward to more!
Thanks for the video Paul. I would love to see more sound manipulation tutorials like this one for various orchestral sections. I always wondered whether composers made crazy eq boosts when no one else was looking! 😄
Thanks for doing this! I've been looking for the right sauce for my brass libraries and I like the idea of layering and EQing to come up with my own sound, rather than buying another library
I would always choose the library depending on the sound I want as the Room is in my opinion half of the sound (the playing instruction the other). For the real sizzle the various incarnations of CTS (RIP) seem to have been the location of choice; I've been told once that in the last incarnation of CTS you got that Barry Bond rasp/sizzle in the room as soon as the Brass started to go above mezzoforte (which apparently was a real challenge to avoid if you didn't want that sound). Teldex, Sony and EastWest seem like the closest existing studios that still have a lot of that sizzle with Abbey Road 1, Fox and Synchron coming close. Ideally one would of course cast the Studio and Players depending on what the score requires though a lot of really raspy things have been achieved by Geoff Foster in Lyndhurst Hall (just not as crazy as some of the aforementioned studios and probably with more strain on the players).
Great info here - I only managed to visit CTS once before it shut, what a great studio that was. Having options on room in sample libs is one of the brilliant benefits we have these days!
I own BBCSO and I thought the brass section does sound a bit "weak" when compared to other brass libraries I use. This trick will make sure I use the brass section from BBCSO much more often! Thanks for this video Paul! I'd love to see more of these kind of tutorials for other sections of the orchestra.
Very helpfull. I do like my brass to punch out from the the rest of the orchestra but that's just because the way i write. I have thought though am i over doing the brass but if you really need the brass to cut through in an epic piece, yes this is the way to do it. Thanks for putting my mind at ease :)
Hi Paul - What a great video! I have Spitfire Symphonic Orchestra, but have been struggling to get that "epic" brass sound. I even considered purchasing from the competition, but was trying not to in order to spend more on my Spitfire wishlist! 😂 This video has helped me save that budget and I feel I've achieved a better sound than I would've done had I gone out and bought another library. One question: How do I get those extended mic positions? I can't find any details on the website about the expansion, other than a reference to it becoming available for free "later in the year". Many thanks!
Great! I would really appreciate a tutorial regarding composing in Logic Pro. I find it very confusing keeping track of all the notes amongst all the tracks and instruments.
Thanks so much for this useful tutorial Paul! If possible, I'm trying for ever to reproduce the classic string sound from 90s Hollywood films. Forest Gump specifically. Your expert guidance would be most appreciated!
I have noticed that bass trombones cuivre are much more sizzly than tenor trombones in BBCSO. I'm gonna try the EQ matching technique on tenor trombones using the bass trombones as the reference
Interesting - diff bore size, there must be a scientific reason for this but yes I know what you mean, the BTs add that low 'blat' on the stacs really well!
@@PaulThomsonMusic As a bass trombonist, you can achieve this on both bass and tenor pretty equally but as you there are numerous factors that determine the sizzle, the bore being one of them - others include bell size, the mouthpiece (especially the depth of the mouthpiece), and even how the instrument is lacquered. I think this sound is also perhaps the bass trombones characterising feature, being able have such an active harmonic series in the low register because of the long straight brass pipes coupled with a larger bore size, mouthpiece size and bell size. Bass trombone for the win!!!
Just a clarification on the brass playing embouchure... it's not really relevant to the tutorial (which is excellent, as always). Brass players do not change their embouchure to play 'brassy' or 'cuivre'. They merely play at a maximum controlled volume (of air). This causes the embouchure to open (but not so much that the tonal frequency is lost) and the horn responds with that brassy tone. Brassy playing is merely just loud playing, literally as loud as a player can play without defeating the embouchure by blowing it open and rendering it unable to buzz. Just an explanation if anyone wanted to understand the player-level experience a little more. Thanks Paul!
I'll post up when I've got an estimate - the mics will be available again as 'Pro' (like the Chamber Strings) when the update launches - its still being worked on though at the moment.
Thanks Paul! This is awesome, I'll have to play with Abbey Road's sound. Now you'll have to show us how to make JXL Brass sounds like it's recorded in Air ;)
If I may make a remark on the design of the video. For instance at roughly 4 min. 10 secs. we see your hands, but because they are (I don't know the technical term) "superimposed" over the other part, it blurs the video a bit. The instruction is fine, but I wanna see what you are doing, and, for me, that has now become difficult. I prefer PIP.
Thanks Paul! I'll be sure to link to this video the next time I read that Spitfire brass can't do loud :-p
Thanks for a great tutorial!
Section-specific mixing tips is something I'd love to see more of please. In general I'm trying to learn more about how to achieve particular styles of orchestral mixes for genre scoring...
OK noted thank you Billy!
Fantastic tutorial Paul, many thanks for taking the time putting this together. Particularly timely as I picked up the SSO yesterday (love the sound of Air), but will play around with these tips on both SSO and BBCSO Core. Invaluable to someone like me at this early stage of my composing journey.
Nice! I like that satisfied look at 13:45. It's helpful to put the "sizzle" through a send and then use automation to control the level of the send so you can go from really calm and smooth to way over the top angry sizzle. Sometimes I add some distortion (not a lot) on the Aux channel to add some more sound information at the upper frequencies. Nice stuff.
Great tips here!! Thanks Micah!
Another reminder of how nice it would be to have the outriggers
Jayden - they are coming back! They're held up until we're finished with the update - I'll post up soon when I know a more precise date. It will be worth the wait!
Love this Paul this is exactly what I was looking for! It’s also great to see shout-outs to other developers in the community as well as Spitfire. Looking forward to more!
I love just hearing samples orchestral instruments in action, being discussed : )
please continue making these videos
Thanks for the video Paul. I would love to see more sound manipulation tutorials like this one for various orchestral sections. I always wondered whether composers made crazy eq boosts when no one else was looking! 😄
Thanks for the tutorial. And also I am glad that not only I became interested in cinematic rooms from liquid sonics.
Its a fantastic reverb- highly recommended!
Thanks for doing this! I've been looking for the right sauce for my brass libraries and I like the idea of layering and EQing to come up with my own sound, rather than buying another library
Thank you Paul for these tricks and presets, I'll try them as soon I'll need.
Sounds great. Thanks for the presets as well. Very much appreciated.
My pleasure!
Thanks ever so much Paul, this is very helpful!
I would always choose the library depending on the sound I want as the Room is in my opinion half of the sound (the playing instruction the other).
For the real sizzle the various incarnations of CTS (RIP) seem to have been the location of choice; I've been told once that in the last incarnation of CTS you got that Barry Bond rasp/sizzle in the room as soon as the Brass started to go above mezzoforte (which apparently was a real challenge to avoid if you didn't want that sound).
Teldex, Sony and EastWest seem like the closest existing studios that still have a lot of that sizzle with Abbey Road 1, Fox and Synchron coming close.
Ideally one would of course cast the Studio and Players depending on what the score requires though a lot of really raspy things have been achieved by Geoff Foster in Lyndhurst Hall (just not as crazy as some of the aforementioned studios and probably with more strain on the players).
Great info here - I only managed to visit CTS once before it shut, what a great studio that was. Having options on room in sample libs is one of the brilliant benefits we have these days!
Great tutorial on using Brass libraries....
Glad it was helpful!
An extra "sizzly" preset for the BBC SO would be very handy
I own BBCSO and I thought the brass section does sound a bit "weak" when compared to other brass libraries I use. This trick will make sure I use the brass section from BBCSO much more often! Thanks for this video Paul! I'd love to see more of these kind of tutorials for other sections of the orchestra.
Thanks Paul! Would love a tutorial on transient shaping if this is a recommended area of focus.
Great suggestion - will do!
Very helpfull. I do like my brass to punch out from the the rest of the orchestra but that's just because the way i write. I have thought though am i over doing the brass but if you really need the brass to cut through in an epic piece, yes this is the way to do it.
Thanks for putting my mind at ease :)
Theres no such thing as too much Keith!
@@PaulThomsonMusic I will bare that in mind lol
thank you paul!
Amazing tutorial! thx!
Thank you!
Using BBC SO I blend bassoon with with horns and brass. I like this sound. Using Raum verb in Reaper.
Thats a great sound Mark - also Bassoons / Celli is a corker
Hi Paul - What a great video! I have Spitfire Symphonic Orchestra, but have been struggling to get that "epic" brass sound. I even considered purchasing from the competition, but was trying not to in order to spend more on my Spitfire wishlist! 😂
This video has helped me save that budget and I feel I've achieved a better sound than I would've done had I gone out and bought another library.
One question: How do I get those extended mic positions? I can't find any details on the website about the expansion, other than a reference to it becoming available for free "later in the year".
Many thanks!
Very useful, Paul, thank you for making this video. I am assuming all that would work even in the absence of the outrigger mikes, yes?
Yes absolutely it will do - also I'm checking in on the SSO update progress today - I'll post something up when I know when this will be available!
@@PaulThomsonMusic excellent! I suspected that, thanks again for your efforts!
Great! I would really appreciate a tutorial regarding composing in Logic Pro. I find it very confusing keeping track of all the notes amongst all the tracks and instruments.
Spitfire Audio "Sizzly Brass" Library coming soon! 😳
😂
😂
Six trombones on the right, six trombones on the left
Thanks so much for this useful tutorial Paul!
If possible, I'm trying for ever to reproduce the classic string sound from 90s Hollywood films. Forest Gump specifically. Your expert guidance would be most appreciated!
Lovely idea - a beautiful score - I'll look into it!
@@PaulThomsonMusic thanks so much, I'm so happy you replied (:
I have noticed that bass trombones cuivre are much more sizzly than tenor trombones in BBCSO. I'm gonna try the EQ matching technique on tenor trombones using the bass trombones as the reference
Interesting - diff bore size, there must be a scientific reason for this but yes I know what you mean, the BTs add that low 'blat' on the stacs really well!
@@PaulThomsonMusic As a bass trombonist, you can achieve this on both bass and tenor pretty equally but as you there are numerous factors that determine the sizzle, the bore being one of them - others include bell size, the mouthpiece (especially the depth of the mouthpiece), and even how the instrument is lacquered. I think this sound is also perhaps the bass trombones characterising feature, being able have such an active harmonic series in the low register because of the long straight brass pipes coupled with a larger bore size, mouthpiece size and bell size. Bass trombone for the win!!!
Just a clarification on the brass playing embouchure... it's not really relevant to the tutorial (which is excellent, as always). Brass players do not change their embouchure to play 'brassy' or 'cuivre'. They merely play at a maximum controlled volume (of air). This causes the embouchure to open (but not so much that the tonal frequency is lost) and the horn responds with that brassy tone. Brassy playing is merely just loud playing, literally as loud as a player can play without defeating the embouchure by blowing it open and rendering it unable to buzz.
Just an explanation if anyone wanted to understand the player-level experience a little more.
Thanks Paul!
Hi Paul, how do we get the outrigger mics for SSB? Thanks!
I'll post up when I've got an estimate - the mics will be available again as 'Pro' (like the Chamber Strings) when the update launches - its still being worked on though at the moment.
@@PaulThomsonMusic Great Paul! Is it possible to share will there be any new content or re-programming? Thanks
Thanks Paul! This is awesome, I'll have to play with Abbey Road's sound. Now you'll have to show us how to make JXL Brass sounds like it's recorded in Air ;)
lol! Next up!
So use EQ to make it louder..hard to see what you're doing without Gain matching
Stop giving away all the secrets, Paul. ;)
:)
😬😂
Really need to level match after the EQ to get an honest comparison. "Louder sounds better" ya know.
If I may make a remark on the design of the video. For instance at roughly 4 min. 10 secs. we see your hands, but because they are (I don't know the technical term) "superimposed" over the other part, it blurs the video a bit. The instruction is fine, but I wanna see what you are doing, and, for me, that has now become difficult. I prefer PIP.