Yeah.... once and only once a director ordered me off his feature score for a month and asked me to promise that I wouldn't even think about it (conveniently we had a CGI hiatus so it was a luxury we could afford). When I came back my final pass took just days because everything that needed to be addressed was clear as day. I guess this is what comes with experience, an innate sense of how this is going to work once the snow has cleared.
There’s a very similar phenomenon in other creative professions like translating/writing (my bread und butter job). Many mistakes or bumpy passages will only be spotted with sufficient distance. Proof-reading my own texts directly after translating/writing them does not work too well, because my brain tricks me into seeing/reading what I think I have written and not what’s actually in front of my eyes. Unfortunately most clients prefer speed over quality these days and believe their jobs are “urgent” hence I hardly ever get the chance to even wait at least a few hours.
Here's a few ideas for future tutorial videos: 1: Treating a room for sound to make it suitable for recording and/or listening to your monitors. 2: Post-processing on recordings (of voice or samples). 3: So you've made a killer track... now what? 4: Integrating modular synthesis with an orchestral sound. I hope some of that is useable.
These are good ideas and I hope Chris does some of these. If you wanted some guys' tips on treating a room: It's pretty complicated/expensive. There are entire forums on this topic, and it comes down to scientifically measuring the room and placing bass traps and foam in various places. You can make DIY Bass traps by youtubing "corning 703 bass trap" and following the directions. But in the end, you really just wanna get to know your headphones and a few other speakers (like car stereos). By "get to know the speakers" I just mean listen to other songs on them until you get a feel for how they handle different frequencies (and how well-mixed songs sound on them). Mastering is where room treatment really starts to matter more, and there are studios out there mastering tracks for relatively cheap. That said, keep in mind good mixing is much more important to how a track ends up sounding, and most of mixing is just leveling. Like Chris said at the start of this, your ears go numb to audio differences pretty quick, so keep in mind that your first instinct is your best instinct when it comes to mixing. And if you're mixing pop or rap, one idea is to make pre-mixed templates to reference tracks and don't change those levels no matter how tempted you are after hours of listening to the mix. Other mixing tips: -Mix in mono -Mix (level) with the sound turned very quiet -Mix as quickly as possible -Introduce one element at a time when you're mixing -Like I said: ignore it when your ears tell you to do some dramatic EQing or leveling after you've been listening to the mix for hours. Your ears are totally useless after less than 30 minutes of listening to the same thing. -Avoid extreme EQ-ing unless you're highcutting or lowcutting for lofi effect. -If you're frustrated by stock plugins, buy better once and use presets -Good recordings/sound selection make your mixing better.
You're totally right about the connection between image and sound. Sound travels slower than light (like, way slower) so if something is far away you will always see it before you hear it, however it is absolutely impossible to hear something before seeing it happen. That would be a totally logical explanation why the brain can't connect those two events.
I love watching your process. The composition is beautiful. More videos of your workflow would be great. Videos on mixing midi orchestra is always needed for us amateurs. Thank you
I love it when you walk around the airport recording yourself and the faces of people looking at you as a possible mental case.!!.....ps Netflix usually gives me break from mix fatigue.
I realize most of what I'm typing below could be filed under "Duh!" But whatev'! FOUR interrelated (rabbit hole avoiding) points (1st one is OBVIOUS): 1) The ears get desensitized overtime, so it's easy for ears to acclimate to sounds that suck, prompting one to go down the rabbit hole... (I'm talking about composers who "mix engineer" themselves, not folks who are solely mix engineers.) And it's often not until the next day that fresh ears detect all sorts of horrid decisions. That's why taking breaks during mix sessions, listening at very quiet levels (most of the time), as well as constantly using reference recordings is key to staying on target. 2) I recall a friend of mine, who wrote a cool book on mic placement (I think for acoustic guitars?), saying something about when someone does TASTE TESTS, for whatever type of food (wine?), they might take a whiff of coffee grounds between each bite/drink, to reset their palate. Something like that. Reference recordings and taking breaks is similar to that. Also, I remember another engineer recommending, to prove this phenomenon, taking super short clips of professionally mastered recordings that you love (sound-wise), and crossfading them end-over-end, to hear how dramatically different--tonally, frequency spectrum, and balance wise--they sound (without your ears getting time to "settle in")... Where it makes it easy to detect which ones actually DON'T sound so great, when your ears don't have time to adjust. 3) Plus, a day after, you're perhaps not WAITING for a section to come up, anticipating how it (levels, FX, etc) will sound (which a "first tune listener" wouldn't)... it's more likely to "sneak up" on you, making it a little more "real world/objective," as far as how it truly should be evaluated. 4) Also a mix usually "sounds" different when listening to it without viewing the film it's meant to accompany. Realizing that can also help avoid doing down time wasting rabbit holes. Spend MUCH of your time watching the film as you make mix decisions.
Would love to hear your approach to marrying traditional instruments with synths like in the middle section of the trailer. It sounded timeless yet super fresh that combo :)
Btw - regarding the "embedded movie audio" - If you don't import movie audio, you can turn the one embedded in the video off by going into "File - Project Settings - Movie" - and then click mute to the right of the volume slider bar (; - drove me crazy too until I found this method out online!
This made me think once again about room acoustics and the part they play in the final sound.. I m guessing they have a bigger role compared to the indifferent slight changes that one could ALWAYS make to their mixes, while coming back day by day! Is it a case that our metal shelves, our small or "perfectly" tuned studios, our odd window positions have a -let's say- 30% significant difference in the final mix? Also totally loved the airport's part, that was SO to the point, so inspiring at certain parts!
I’d love to see a series on how to use Delays. It’s one of those things that some people just understand innately, but it’s something I’m weak at. Not so much a “here’s what it means when you tweak this” but more like a “here’s how I approach this and what I want to achieve with delays and here’s how I get there.”
5 ปีที่แล้ว
Your process vids are always so so dope. I learn a new thing every time. How about a tutorial on having the courage to talk to yourself in front of groups of strangers?
808 kick is really good. I love low end thumps that much the two best I've found yet is one from Komplete 10 called heartbeat, and I've also downloaded a heartbeat from BBC sound effects and used that as a thumping layer to a kick.
Really live that piece you composed for this new product, it seems to be very promising congrats! I don't remember if you did, but can you do again a tour of the HQ now that you guys are all set and took your marks? Cheers
Interesting little tricks in this, thanks. I have however, definitely seen (and helped produce) trailers where the hit comes before the visuals fade in. If the timing, transients and tail of the hit are just right, it can feel like the visuals opening are a result of, or response to, the boom. To me it connects the visuals and audio in a more integral way.
Congrats on Orbis! Very interesting release and thank you for another insight on your process. I often revisit works till I think they’re done. I think you’ve mentioned before about over tinkering on a piece. And if you haven’t - IDEA! I was wondering as you talk about products and what you, Paul and the team have done at Spitfire, is there any though about producing manglers and fuckbox style products I suppose similar in the vein of what Waves or EZMix do as suites for, not necessarily mixing but trying to capture what the eDNA engine does? I know it’s what it does but if it could applied liberally to non eDNA sounds, that could be interesting. I only ask as I’m about to be reunited with my childhood tascam four track and I’m messing around with my pedalboard that I use in my band as a way out of the box.
Great stuff, Christian! Love the Soundtrack! 👍 Sounds great on my KRK RP8 + Sub. Though my (new) windows dont shake anymore. But totally agree on the dead serious statement at 12:10 😂 but wasnt it window-LICKER? (Aphextwin)
There's always that last-on, loudest effect. Really used to happen a lot in pop music when someone used to decide to add a tambourine, cabasa, cowbell, etc. right before mixing. It was the new, fresh element, and it would always be too loud. BTW, for important stuff, I really think listening to things in a different space, over a different system is a good idea. Certainly, you're supposed to have your reliable, pro monitors that you trust, but sometimes, auditioning in a different space points something out that you otherwise missed.
Lee Blaske yes I should have mentioned this but I always check back on two different sets of headphones, my stereo at home and also my laptop speakers.
Fantastic stuff! Your trailer music always has excellent direction and motivation. You make those final touches looks effortless. As it should be after enough practice I suppose. I am wondering how long it took to reach the point before this film?
Hans Zimmer mentioned in his Master Class; That as you say. don't make the hit or strike directly on the downbeat of the image. But rather 2-3 frames before OR after the image hits. I tend to do it after as you do. But I have done it before, depending on the size of the hit and the size of my instrument.
One thought about brain registration: Brain catches sound a lot faster than image (the cave man thing you all know about by now...). Maybe that's why it's more natural for sound to come after image?
The best test I’ve always found is playing it to somebody else - preferably another musician - that’s when you notice everything that needs changing and the epic masterpiece you’ve slaved over sounds a bit lacking! 🤣 The Orbis library sounds great from everything I’ve heard/seen so far but what is the balance between looped sounds vs one shot sounds? I tend to avoid using loops as I prefer to come up with things from scratch.
Don’t know about libraries, but you could always make them~ lots of tutorials for “bass drops” “bass falls” etc. Basically a falling sine wave, add some effects like distortion and reverb to beef it up
As others have said, watching the process is really really fun and inspiring, but what do we do with that inspiration? Maybe a scoring challenge for your viewers, I'd love the opportunity to get some footing in something I'm interested in, vs lying to get the first job and 'winging it'. I'd rather be more practised, I mean on a monthly level this would be super important for some of us to get that experience(asset that needs scoring that we didn't choose, deadline, etc...)
Hi have no idearwhat am talking about the cershendow as you said again with the Visahls was that wright or wrong in your eyes think this is a great Vid for some one like me hope their is a lot more ATB
Could you give us some tips and tricks to do more with less. Such as exploiting one track to check as many boxes as possible for us folks with out of date CPUs
I thought the music was bit rushed and would have preferred that cadences coincided visuals better.... key word: slower and some of the brass swells still sounded distorted ( on my Focals)
Hi, possibly a question for another video but... I’m curious how composers such John Williams, Alan Silvestri and Michael Giacchino write huge scores. For example, do they write every single note for every instrument or do they write the main elements which are embellished by others. Giacchino wrote the score for Rouge One in 4 weeks (not by choice of course) which is insane!
Informative vid as always C. You seem to use basic Waves plugins for eq and compression, nothing wrong with that, however do you use any others like fabfilter, Slate etc
@@TheCrowHillCo I have the Slate subscription bundle which covers SSL, Neve, API emulations to 1176 comps and the best Distressor I have heard. Also in it is the Kilohearts multipass which is the sound mangling tool del la creme. I also use Fabfilter on every thing, brilliant company. Finally as a fan of "gravy" like myself have you ever checked out Soundtoys stuff ?
@@TheCrowHillCo I use the Ozone 8 EQ alot, it got a matching function, similar to the pro-Q, but it's much easier to use imo. Helps alot when trying to figure out the difference between two inputs very quickly.
the kick part-> Sweet, did you checked the phases from the different kicks? and did not show us or got lucky or just skipped? just wondering or no need for?
How many hours do you reckon a composer should compose a day? I struggle to do more then 3-4 hours a day, I find while it is the most fun I have all day, its very draining.
The effect you're describing about the standing waves only occurs in poorly optimized systems thou. Physically, a room will always alter your sound, especially below the Schroeder frequency, but proper setup and room EQ will mitigate these issues. Of course all objects have its resonant frequency and the window framing might have a resonance around 50Hz, which will get it excited during the bass drop, but unless you're listening at extremely high SPL or you're listening to the track in a very poorly constructed building, actual rattling won't be an issue. In fact, I personally hate it when listening to such SFX on a system with extreme spikes in the frequency response.
Great video. Comment on your vlog footage: it seems you expose for exteriors or ambient light, often leaving you in the dark. You might consider exposing for your face, even if that blows out the exteriors. We’d rather see you clearly than passersby:)
Luckily I'm so slow that a track takes much longer than just a day or two. I get to think about all those little mistakes everyday - which is surely good for ones sanity! About the diversity thing... What about a brass Evo? I bet Wagner Tuben would be good for that! :) Ok, I'll stop with the WT nonsense, I just think they're amazing and an overlooked instrument in the sampling world.
Ok - here is my take. There is always a tiny voice that knows when you are being self delusional. If you are feeling the need to feel good, don't put that into your work - I really think we know when what we have done is slamming and really good enough. Having that naggling thought "its good enough" or "it's great considering..." means you deffinately are not done with your project. nosce te ipsum
I wait a week sometimes ;)
Yeah.... once and only once a director ordered me off his feature score for a month and asked me to promise that I wouldn't even think about it (conveniently we had a CGI hiatus so it was a luxury we could afford). When I came back my final pass took just days because everything that needed to be addressed was clear as day. I guess this is what comes with experience, an innate sense of how this is going to work once the snow has cleared.
There’s a very similar phenomenon in other creative professions like translating/writing (my bread und butter job). Many mistakes or bumpy passages will only be spotted with sufficient distance. Proof-reading my own texts directly after translating/writing them does not work too well, because my brain tricks me into seeing/reading what I think I have written and not what’s actually in front of my eyes. Unfortunately most clients prefer speed over quality these days and believe their jobs are “urgent” hence I hardly ever get the chance to even wait at least a few hours.
👍 If you can afford to, even longer is even better ...
Here's a few ideas for future tutorial videos:
1: Treating a room for sound to make it suitable for recording and/or listening to your monitors.
2: Post-processing on recordings (of voice or samples).
3: So you've made a killer track... now what?
4: Integrating modular synthesis with an orchestral sound.
I hope some of that is useable.
These are good ideas and I hope Chris does some of these. If you wanted some guys' tips on treating a room: It's pretty complicated/expensive. There are entire forums on this topic, and it comes down to scientifically measuring the room and placing bass traps and foam in various places. You can make DIY Bass traps by youtubing "corning 703 bass trap" and following the directions. But in the end, you really just wanna get to know your headphones and a few other speakers (like car stereos). By "get to know the speakers" I just mean listen to other songs on them until you get a feel for how they handle different frequencies (and how well-mixed songs sound on them).
Mastering is where room treatment really starts to matter more, and there are studios out there mastering tracks for relatively cheap. That said, keep in mind good mixing is much more important to how a track ends up sounding, and most of mixing is just leveling. Like Chris said at the start of this, your ears go numb to audio differences pretty quick, so keep in mind that your first instinct is your best instinct when it comes to mixing. And if you're mixing pop or rap, one idea is to make pre-mixed templates to reference tracks and don't change those levels no matter how tempted you are after hours of listening to the mix.
Other mixing tips:
-Mix in mono
-Mix (level) with the sound turned very quiet
-Mix as quickly as possible
-Introduce one element at a time when you're mixing
-Like I said: ignore it when your ears tell you to do some dramatic EQing or leveling after you've been listening to the mix for hours. Your ears are totally useless after less than 30 minutes of listening to the same thing.
-Avoid extreme EQ-ing unless you're highcutting or lowcutting for lofi effect.
-If you're frustrated by stock plugins, buy better once and use presets
-Good recordings/sound selection make your mixing better.
You're totally right about the connection between image and sound. Sound travels slower than light (like, way slower) so if something is far away you will always see it before you hear it, however it is absolutely impossible to hear something before seeing it happen. That would be a totally logical explanation why the brain can't connect those two events.
I love watching your process. The composition is beautiful. More videos of your workflow would be great. Videos on mixing midi orchestra is always needed for us amateurs.
Thank you
I love it when you walk around the airport recording yourself and the faces of people looking at you as a possible mental case.!!.....ps Netflix usually gives me break from mix fatigue.
I realize most of what I'm typing below could be filed under "Duh!" But whatev'!
FOUR interrelated (rabbit hole avoiding) points (1st one is OBVIOUS):
1) The ears get desensitized overtime, so it's easy for ears to acclimate to sounds that suck, prompting one to go down the rabbit hole... (I'm talking about composers who "mix engineer" themselves, not folks who are solely mix engineers.) And it's often not until the next day that fresh ears detect all sorts of horrid decisions. That's why taking breaks during mix sessions, listening at very quiet levels (most of the time), as well as constantly using reference recordings is key to staying on target.
2) I recall a friend of mine, who wrote a cool book on mic placement (I think for acoustic guitars?), saying something about when someone does TASTE TESTS, for whatever type of food (wine?), they might take a whiff of coffee grounds between each bite/drink, to reset their palate. Something like that. Reference recordings and taking breaks is similar to that. Also, I remember another engineer recommending, to prove this phenomenon, taking super short clips of professionally mastered recordings that you love (sound-wise), and crossfading them end-over-end, to hear how dramatically different--tonally, frequency spectrum, and balance wise--they sound (without your ears getting time to "settle in")... Where it makes it easy to detect which ones actually DON'T sound so great, when your ears don't have time to adjust.
3) Plus, a day after, you're perhaps not WAITING for a section to come up, anticipating how it (levels, FX, etc) will sound (which a "first tune listener" wouldn't)... it's more likely to "sneak up" on you, making it a little more "real world/objective," as far as how it truly should be evaluated.
4) Also a mix usually "sounds" different when listening to it without viewing the film it's meant to accompany. Realizing that can also help avoid doing down time wasting rabbit holes. Spend MUCH of your time watching the film as you make mix decisions.
Sounds amazing. Short and sweet. Lovely low end percussion.
Would love a video solely on the art of “window shaking”. Great video CH!
Always such a good content... Thanks a lot Christian. I am learning lots of things with you. Cheers .. And keep it up!!!!
Love this format, more of these would be great.
Hi Christian!
I really enjoyed this video! I would love to see some more breakdowns/walkthroughs of your cues.
Much Love From South Africa
J
Would love to hear your approach to marrying traditional instruments with synths like in the middle section of the trailer. It sounded timeless yet super fresh that combo :)
Btw - regarding the "embedded movie audio" - If you don't import movie audio, you can turn the one embedded in the video off by going into "File - Project Settings - Movie" - and then click mute to the right of the volume slider bar (; - drove me crazy too until I found this method out online!
As always, great vid Christian! I'm so looking forward to long-form hosting in PT.
Thank you for another very informative masterclass. Very grateful for your generous spirit.
this is a great breakdown, well filmed, good pace and decent amount of info
The whole Orbis trailer got a good "review" on Sonic State's Sonic Talk on Wednesday, so it was quite fascinating to watch this... Nice stuff!
Please show us how to make those window shaking sweeps :) Thanks!
This made me think once again about room acoustics and the part they play in the final sound.. I m guessing they have a bigger role compared to the indifferent slight changes that one could ALWAYS make to their mixes, while coming back day by day! Is it a case that our metal shelves, our small or "perfectly" tuned studios, our odd window positions have a -let's say- 30% significant difference in the final mix? Also totally loved the airport's part, that was SO to the point, so inspiring at certain parts!
Really great video as always
I’d love to see a series on how to use Delays. It’s one of those things that some people just understand innately, but it’s something I’m weak at. Not so much a “here’s what it means when you tweak this” but more like a “here’s how I approach this and what I want to achieve with delays and here’s how I get there.”
Your process vids are always so so dope. I learn a new thing every time. How about a tutorial on having the courage to talk to yourself in front of groups of strangers?
808 kick is really good. I love low end thumps that much the two best I've found yet is one from Komplete 10 called heartbeat, and I've also downloaded a heartbeat from BBC sound effects and used that as a thumping layer to a kick.
Really live that piece you composed for this new product, it seems to be very promising congrats!
I don't remember if you did, but can you do again a tour of the HQ now that you guys are all set and took your marks?
Cheers
"Which is the reason we do what we do as composers - is to shake windows."
Interesting little tricks in this, thanks. I have however, definitely seen (and helped produce) trailers where the hit comes before the visuals fade in. If the timing, transients and tail of the hit are just right, it can feel like the visuals opening are a result of, or response to, the boom. To me it connects the visuals and audio in a more integral way.
Great video!
Congrats on Orbis! Very interesting release and thank you for another insight on your process. I often revisit works till I think they’re done. I think you’ve mentioned before about over tinkering on a piece. And if you haven’t - IDEA!
I was wondering as you talk about products and what you, Paul and the team have done at Spitfire, is there any though about producing manglers and fuckbox style products I suppose similar in the vein of what Waves or EZMix do as suites for, not necessarily mixing but trying to capture what the eDNA engine does? I know it’s what it does but if it could applied liberally to non eDNA sounds, that could be interesting.
I only ask as I’m about to be reunited with my childhood tascam four track and I’m messing around with my pedalboard that I use in my band as a way out of the box.
Great stuff, Christian! Love the Soundtrack! 👍 Sounds great on my KRK RP8 + Sub. Though my (new) windows dont shake anymore. But totally agree on the dead serious statement at 12:10 😂 but wasnt it window-LICKER? (Aphextwin)
There's always that last-on, loudest effect. Really used to happen a lot in pop music when someone used to decide to add a tambourine, cabasa, cowbell, etc. right before mixing. It was the new, fresh element, and it would always be too loud. BTW, for important stuff, I really think listening to things in a different space, over a different system is a good idea. Certainly, you're supposed to have your reliable, pro monitors that you trust, but sometimes, auditioning in a different space points something out that you otherwise missed.
Lee Blaske yes I should have mentioned this but I always check back on two different sets of headphones, my stereo at home and also my laptop speakers.
Can't wait for the PT & Logic vlog
Your music is so elegant.
Fantastic stuff! Your trailer music always has excellent direction and motivation. You make those final touches looks effortless. As it should be after enough practice I suppose. I am wondering how long it took to reach the point before this film?
Do you ever accidentally click the trailer video of the GUI instead of the GUI? :) Confused me what was going for a second there.
7:54 A tornado flew around...
Christian, any interest in sharing some of those sweeping low rumble sounds?
Hans Zimmer mentioned in his Master Class; That as you say. don't make the hit or strike directly on the downbeat of the image. But rather 2-3 frames before OR after the image hits. I tend to do it after as you do. But I have done it before, depending on the size of the hit and the size of my instrument.
Great piece of sound design... but nothing about the actual Orbis Library! Is it the fiddling in the middle part?
Regarding compression impacting EQ, check out that new Sonible "Smart comp" plug-in. Astounding! Artificial intelligence to the rescue!
One thought about brain registration: Brain catches sound a lot faster than image (the cave man thing you all know about by now...). Maybe that's why it's more natural for sound to come after image?
corner liston love that.
The best test I’ve always found is playing it to somebody else - preferably another musician - that’s when you notice everything that needs changing and the epic masterpiece you’ve slaved over sounds a bit lacking! 🤣
The Orbis library sounds great from everything I’ve heard/seen so far but what is the balance between looped sounds vs one shot sounds? I tend to avoid using loops as I prefer to come up with things from scratch.
Lightning before thunder?
Is there a good library anyone could suggest for those low synth sweeps Christian mentions around 11:40?
Don’t know about libraries, but you could always make them~ lots of tutorials for “bass drops” “bass falls” etc. Basically a falling sine wave, add some effects like distortion and reverb to beef it up
@@DIDCHOI Thank you!
As others have said, watching the process is really really fun and inspiring, but what do we do with that inspiration? Maybe a scoring challenge for your viewers, I'd love the opportunity to get some footing in something I'm interested in, vs lying to get the first job and 'winging it'. I'd rather be more practised, I mean on a monthly level this would be super important for some of us to get that experience(asset that needs scoring that we didn't choose, deadline, etc...)
Hi have no idearwhat am talking about the cershendow as you said again with the Visahls was that wright or wrong in your eyes think this is a great Vid for some one like me hope their is a lot more ATB
Could you give us some tips and tricks to do more with less. Such as exploiting one track to check as many boxes as possible for us folks with out of date CPUs
head rm hot mixtures.. just like analog capturing recordings and knowledge of tape saturation. cool stuff
I thought the music was bit rushed and would have preferred that cadences coincided visuals better.... key word: slower and some of the brass swells still sounded distorted ( on my Focals)
Hi, possibly a question for another video but... I’m curious how composers such John Williams, Alan Silvestri and Michael Giacchino write huge scores. For example, do they write every single note for every instrument or do they write the main elements which are embellished by others. Giacchino wrote the score for Rouge One in 4 weeks (not by choice of course) which is insane!
Informative vid as always C. You seem to use basic Waves plugins for eq and compression, nothing wrong with that, however do you use any others like fabfilter, Slate etc
denis woods if you watch the contextual video you’ll see I use fabilter a lot too... I don’t have any slate stuff anything you could recommend?
@@TheCrowHillCo I have the Slate subscription bundle which covers SSL, Neve, API emulations to 1176 comps and the best Distressor I have heard. Also in it is the Kilohearts multipass which is the sound mangling tool del la creme. I also use Fabfilter on every thing, brilliant company. Finally as a fan of "gravy" like myself have you ever checked out Soundtoys stuff ?
@@TheCrowHillCo I use the Ozone 8 EQ alot, it got a matching function, similar to the pro-Q, but it's much easier to use imo. Helps alot when trying to figure out the difference between two inputs very quickly.
Are you just triggering loops from synth? Answered my own question, loops and sounds from other Spitfire libraries, thank you for sharing.
the kick part-> Sweet, did you checked the phases from the different kicks? and did not show us or got lucky or just skipped? just wondering or no need for?
But I MUST have every one of your libraries!
How many hours do you reckon a composer should compose a day? I struggle to do more then 3-4 hours a day, I find while it is the most fun I have all day, its very draining.
Please narrate some long-form literature for us. Your voice is delightful.
he should write a book and do the narration for audio
The effect you're describing about the standing waves only occurs in poorly optimized systems thou. Physically, a room will always alter your sound, especially below the Schroeder frequency, but proper setup and room EQ will mitigate these issues.
Of course all objects have its resonant frequency and the window framing might have a resonance around 50Hz, which will get it excited during the bass drop, but unless you're listening at extremely high SPL or you're listening to the track in a very poorly constructed building, actual rattling won't be an issue.
In fact, I personally hate it when listening to such SFX on a system with extreme spikes in the frequency response.
Hi, was just wondering what verb is being used within Orbis... lush
Rich de Whittaker checkout the contextual its a combination of delays and black hole on fabfilter Pro R
@@TheCrowHillCo No, the actual reverb being used within Orbis itself - when you push the fader up,etc ... it's nice
Fab thanks as a novice just about to Buy Logic Pro X
@.32 😂
Beethoven once said "Fuck music honestly I just wanna shake windows with some loud-ass bass"
He was the king of phatt,,,, not many people know this but the word BASS is actually derived from B-Ass which stands for Beethoven's ASS.
Great video. Comment on your vlog footage: it seems you expose for exteriors or ambient light, often leaving you in the dark. You might consider exposing for your face, even if that blows out the exteriors. We’d rather see you clearly than passersby:)
When he said 9 notes...
Luckily I'm so slow that a track takes much longer than just a day or two. I get to think about all those little mistakes everyday - which is surely good for ones sanity!
About the diversity thing... What about a brass Evo? I bet Wagner Tuben would be good for that! :) Ok, I'll stop with the WT nonsense, I just think they're amazing and an overlooked instrument in the sampling world.
I destroyed one of my favourite songs with rubbish mastering, i should have waited
Why don't you remaster it then?
@@pedterson so I just spent the last hour doing that, it turns out the composition was also bad. I rushed the whole thing
Okay i didn't run it to the end all good in ma book fad out fad in mmmm details Earth Quack the Movie teath rattle
Ok - here is my take. There is always a tiny voice that knows when you are being self delusional. If you are feeling the need to feel good, don't put that into your work - I really think we know when what we have done is slamming and really good enough. Having that naggling thought "its good enough" or "it's great considering..." means you deffinately are not done with your project.
nosce te ipsum
Your Paranoid loll aa e ooo just no iieee thats it
Diversity