I noticed when I edited the video that the mixed version has the highs pushed a bit too much for my taste. I did that mix in 15 minutes so it can certainly be refined. The point is really about clarity in the track - hearing all the elements without too much effort. Everything else (amount of EQ, compression, reverb) is a question of taste. We'll get more into that when I make my mixing video though. 🙂
👏👏👏Absolutely fantastic. I am 55 yr old mom of 8, finally composing after 25 yrs of homeschooling 😅. I studied voice and composition in college, and now I'm on my first project of an orchestral version of the hymn, "Be Thou My Vision." I've been a musician and vocalist for 45 years, and experienced more rehearsals than I can shake a stick at. All to say, that everything you've pointed out (and so well!), has confirmed everything I have done or figured out so far, because these points are reality in live or analog recordings. I really needed to hear someone voice those extremely important details for truly realistic orchestral music, giving me greater clarity and confirmation. THANKS. You're so brilliant---really.
id love a video on parallel subliminal position of non-coaxial deltoid cardioid positioning of microphones on ethnic tambourines in un-roofed cathedrals
The depth of topics you cover is remarkable. Your ability to simplify complex musical theory and technology, paired with invaluable industry advice, is a rare gift. The perfect blend of humor, authenticity, and realism makes your content both informative and enjoyable. Thank you for generously sharing your expertise with the community!
I really like your more direct and honest approach as of late. Tell it to us straight and my learning curve steepens. I am an amateure but I have learned a lot from you and your channel, so highest time to say ‘Thank you!’
"and i will die on this hill" My wife was describing an argument she was having at work and came out with. "This is not the hill that I'm going to die on, but it is the hill that I will leave the bodies on" I feel like the grid rant was a very similar energy. Well done
I’ve been subscribed to your channel for a while but I’m only getting around to watch your videos now. I’m sorry I’ve waited so long! What amazing content from what I’ve seen so far - fantastic work. I’ll defo drop by way more often now. Thanks!
You nailed it. All 100% true. Okay now I’ve got to watch your other videos. I love getting other composer’s perspectives and incorporating their ideas. Why reinvent the wheel? Great job!
A good way to add expression is to use a breath controller to modulate the MIDI CC destination. Especially for a wind instrument, it's a very natural thing to do.
This is an entire masters midi course for Film Composition in 18 minutes. Really excellent coverage of the most important points, some I'm still guilty (read: lazy) of even now! Thank you!!
Hi Kathrin, great video! Could you explain more about synthesizers and how they can double instruments in another video with more examples? I’m really interested in this topic 😊🙏🏻
@John-fq2py theres a lot of cool stuff you can do doubling instruments with synths, just to tide you over heres a couple of example: You can use some kind of soft bassy synth patch to add warmth and a bit more fullness to a bunch of different instruments, including fixing up how much of a punch brass can pack, etc You can double using high synth plucks similar to how you might double with a celeste to add sparkle to the high end of an instrument All kind of pads can double strings very nicely to add more sparkle and space to the section
As an aspiring composer I feel SO lucky and grateful to have this information, thank you so much for making these videos and for sharing your knowledge 😊 x
As a Brit we pretty much invented offending ppl and nations. We are quite good at it. At 62 I think being old and grumpy helps. I’m glad to say you have also developed this quality albeit at a significantly younger age.. Seriously tho great video. Very informative and entertaining.
Thank you SO MUCH for doing this amazing videos Anne, really 💚💚 About the mixing separate video, I would watch you explaining it for 24 hours straight, no joke. I will be waiting it fervently, see you!!!
Oh perfect video timing, I'm working on the monthly mock up this month and I was worried it would suck... Also when are we getting merch? "I meant to offend all of you" "pick a struggle bitch" "I see a whole lot of not my fucking problem." These are gold!
And, for a more musician-based part of the merch store, I'd like to add "Brass is loud" and "Woodwinds are weird". Still looking for a proper strings-related quote, I'm sure there have been plenty but I can't remember one atm.
Nice summary. I'd say most of those bullet points boil down to not being very familiar with the nature of the type of music being produced-in this case, orchestral music (from a compositional point of view to instrument playability and how it's meant to sound).
I love your videos bc the contents are very useful but also your pronounciation and voice! English is not my first language😢 so I feel comfortable with your clear words
Great video. Thank you for this. I was recently wondering where my mock ups were lacking and these tips helped out a lot. Always great to see a new video from you. "I meant to offend all of you" ... Hilariously classic! I'm gonna go practice now... til next time.
Always appreciate your posts. You inspire and teach with wonderful generosity. I love the progress in digitisation of music. I have had music locked up inside me all of my life and now in my old age it is finally out of the cage. So much to learn. So much to absorb. I am far behind the 8-ball and my pensioner's budget is frustratingly limiting but I have so much fun composing. Your post is not so much about what's wrong with my rather ordinary music, but it sets the bar high and challenges me to give every piece my best shot. I envy your natural talent but am in awe at your determination to produce music that excels at every level. Your technical knowledge has come with an enormous amount of effort and translates into beautiful music. That is what inspires me to keep pushing the boundaries and seeing improvements with each new piece. You, and a few other like you, have become my on-line musical friends and mentors even though we have never met. I compose for my own pleasure and to back my own videos, though these days more of my old friends seem to dropping off the perch and I get too many requests for requiem type music. Makes a great farewell gift and nothing helps grieving more than composing. Thanks.🤗
Here, here!😊 I too am in the back end of years, but onward regardless we compose, right? Keep up your work! I'm 55, just on my first project, which I began 9 years ago (I'm homeschooling the last 2 of our 8 kids). I absolutely LOVE being able to compose with my Spitfire Audio orchestral library---the free Discovery BBC Symphony. My budget is nil to nothing😄. Hopefully that'll change. But friend, keep up your enjoyment, and don't droop too much in the sadness of fugues 🤧. Blessings!
@@NoName-dr8wt Kindred spirit I see. I'm old enough to be your father (78) LOL . The sadness is not the fugues but losing old friends. I write heaps of joyful music. I can't afford the top libraries but sniff out some great specials and content myself with some great Soundpaint sounds. I can't read music and am self-taught on the keyboard. I feel music instead. Shared joy and blessings. Thanks.
Re: saturation -- I would love some more talk about this especially. I feel like I get reverb, I get "separating" the mix with EQ, etc. but I don't yet have my head wrapped around saturation. I don't even really know what to listen for. And while there are loads of mixing vids already on TH-cam, few talk about saturation, and even those are coming at it from a pop music direction - nothing about its effect in an orchestral context. So that would be a big help!
Excellent ass whopping 👌 I didn't realize No 7 was my bane until recently. Lots of specials these days so didn't notice how similar some are until I really started learning the things inside out but it's all about having options for me when the creativity kicks in. I like having different tools that make me think differently when I write, sometimes fiddling with a tool can lead to interesting workarounds or different unexpected directions but that's only valid in experimental. I also understand how being on a timeline for a contract makes an effortless workflow important to also have in your arsenal. Thx 👍
Awesome advice! Thank you so much! I’d love to see/hear some examples of layering synths with acoustic or natural sounding instrumentation. I do this all the time with my compositions even using unconventional methods and instruments with melodyne and guitar layers to midi. However I’d love to see your examples of how you do it. 🌟
Thanks for this video.Being in the grid - I'm guessing that this means to be recording as much in time with the click. And then quantizing if necessary, so you can cut/paste midi anywhere you like and have it slip with ease into any place of the DAW score without having problems of notes cut off at the beginning of bars, because the first beat of the bars notes are in the ending of the previous bar etc etc. Am I correct here? Thank you if you can get back to me here. 🙂
I love the advice on synths! Putting a sub bass under contrabass was a revelation for me a couple of years back. In general, the moment I internalized that I am not producing music to sound like a live recording, but an effective underscore, was a turning point. I didn't think about experimenting with synths to enhance other sections, at least consciously, so that's something I am definitely going to try. Also, interesting opinion on the grid. I feel like every tutorial out there on the contrary tries to make a point how grid is bad, because it makes everything sound mechanical. I'm kind of wondering if it's just a placebo effect that makes imperfect tempo mask bad CC programming, because it's so "raw and human". As a composer, who is bad with piano, and with a small studio without space for a lot of keys, I work a lot of in the grid. I feel like I make better orchestration decisions on the grid, when I can decide where the voices go "in slow time". I do definitely re-record some parts to humanize them, especially if they're on top, but I'll definitely be less liberal with tempo after watching this. Also, a good point on saturation, it's another technique that I discovered for myself, after neglecting it for so long. Definitely one of those secret sauces that separate bright professional mixes. My biggest revelation so far has been using it on the brass chords to get that "tearing" sound. Definitely going to wait for that video on saturation. And I agree on panning - sometimes I come back to my period of "hard panning" in my mixes and they sound weird and out of phase.
One point that is not mentioned a lot is western orchestra seating vs eastern orchestra seating, in some cases I was able to achieve better stereo field by flipping the channel of second violins when they play phrases other than harmonies. Great video
Thank you very much for all your Videos who are very helpful ! The moste i like this Video and the 10 Beginner Mistakes Video, its also for non beginners very much to learn from your advices ! Sorry for my last comment, i have get so much inspired from your Video so i have write to much of my thougts and things what im fascinated about Filmmusic. I understand now her is not like a forum to discuse.
Great video Anne-Kathrin! :) Do you have any suggestions on synths (digital VSTs or real models) that you would recommend to layer with strings, brass, etc., for that fuller sound?
Days off this week so tuning in here. The grid comment is hilarious Ann-Kathrin Dean! BTW years ago I was Been on a tv session that will remain nameless that because the midi composer told the contractor or whatever when the part needed to be changed, "We will have to go home and re-do the parts and come back another day to do the session with the orchestra OK?" YIKES! Needless to say, they were replaced or never saw them again. Keep in mind the orchestra had to be paid for that day. WOW, that was an expensive day for the show and production.
Leaning my sample libraries has been a big focus for me this summer. Spent a decent amount of time learning the ins and outs of Berlin Symphonic Strings and features within the Sine player I didn't know about (mic merge being my favorite Sine option).
I always chuckle how some people use samples and write in the wrong ranges.. Listen to styles in recordings and also study how the instruments are used in older and new ways.
I watched a replay of a class you did for Marc Jovani’s Cinematic Composing program. Such useful advice there as well as everything you do on this channel. So this felt like a good time to express my thanks for contributing so much to the composer community. BTW, if you feel like it, I’d love it if Marc could get you back for more workshops. Caveat, I’m in his Momentum program now, so I guess I’m biased. Great program with great mentors, would recommend (oops, is that shameless plug allowed on this platform? :)
Good morning Anne, great tips and you can bet I am going to practice and add them :-) - About playing on the grid, I understand what you are saying and I wrote a few small pieces not using the click because I thought playing how I feel create more emotion, however, as you mentioned, it is all over the place and not really sound that awesome all the time lol. When a live orchestra is conducted the conductor will slow down or speed up a tempo in certain passages. To do that with the sample library are you after you recorded everything on the grid make adjustments in the tempo ruler to create the ritardando and accelerandos to have it not sound too precise/robotic or do you stretch out the note value/length of a section to create a ritardando ect? - Also, a video about how you EQ and compress your mix buss would be amazing 🙂 Thanks for sharing your knowledge, experience and love with us all...
Annie, thank you so much for your amazing content! There is always a lot of useful and accurate tips for practical work. My question is this: I’m used to composing everything in the sibelius music editor and only then transferring it to the DAW. This is not always convenient, it’s just that such a habit has formed due to the specifics of the work. I know that you also came to the industry from academic music. If possible, address this topic in your video podcasts. Thank you! Best regards!
17:50 what she is talking is called ghosting in which you use synth brass or strings or basses to thicken the bass sounds and make it cut through the mix
Great video! Never too much "know your gear stuff" 😅 In the template topic, in my opinion it's worth to try at least "track template" (some daws are having this function) if someone doesn't like huge templates with hundreds of tracks. It's easier to set up one section from specific library, the routing, mixing chain etc. than "one to rule them all" template of all time. And in the end it's much faster to open one track template and work with that, than open "300 track template" just to use one string ensemble 😂 Thanks to that my project grows naturally with my needs really easy and with every instrument already set up... worth trying!
Thanks for a very educational video! I have a question about something I have been struggling with for a while. I have a problem with sudden jumps and drops in the level of expression when using an automation curve in cubase. I have tried different libraries, but currently use BBC core. I find that it usually happens when using string long patches such as a cello patch. The expression curve can be a straight ascending or descending line, or a smooth curve, despite this there are seemingly random jumps in expression/volume. I only have one automaton curve, expression. Am I doing something wrong? I am new to to world of DAWs so I assume it’s me doing something I shouldn’t 😌
I'm using GarageBand. I've learned that there are 2 threads of automation, like expression and dynamics. The piano roll (in the lower area at the screen bottom) allows for automation, just as in the upper area where individual tracks also allow it. The lower area in the piano roll overrides the upper track automation. I had that confusing situation myself until I figured it out---I'd seen my virtual control knobs mysteriously rise and fall, despite no apparent automation. All to find there was automation or even volume automation left in the second area (before learning). So now I just use the piano roll to enter expression and dynamics (and other things). If something drops in volume suddenly, then I go back and find that extra automation was left in the upper track area from some earlier time. Clean up can be tedious to workflow.
If you are working in the grid, do you employ any tempo variation? Also, if there are expressive or lyrical solos/lines/etc, do you use timing variation to make it more expressive? My experience with recording pop music is that the click majes things sound robotic, but at the same time it is more rhythmic with a definite pulse and uses loyalty of instruments with short attacks....
I'm currently working on improving my mid-low strings orchesteration for fullness. I sometimes cheat with rimba-like synth sounds for growly impact. Rimba = physical modeling of rimba tubes, but different shaping.
💙Ahhh, the strings---they're so rich. Especially if they're parted out in 4-part writing style, which is a challenge for those like me. But it has been more than worth the effort! The strings, brass, choirs, wind instruments---all sections---THRIVE on 4-part writing rules, despite the modern backlash against "archaic" composition rules. They work for good reason, the proof of which pleasantly rests in the human ear which God designed😊.
Interesting comment re sticking to the grid, I'd come to the same conclusion following a fair bit of pain exactly as you describe! I'd be interested to know how you deal with tempo changes though whilst composing, not so much big step changes but just pulling the tempo around a bit for feel. I tend to sketch stuff out on the piano and sometimes end up finding myself speeding up a bit, for example, for effect but then have to spend ages in Cubase trying to map the tempo change to work out what I did. Do you plan such things in advance and get the tempo track sorted first then play along to the grid? It feels like there must be a better way than how I'm currently doing it!
I'm sure like me, there's tons of us who can't even PLAY piano. I'm a programmer so yeah, I live on the grid. I for one hope you touch on mixing in a video. I mix while I write and over long hours and days the running 'mix' sounds great, only to be a muddy mess of crap in the final analysis. I try not to mix until I put a couple days between finishing the piece and mixing but babysitting tons of tracks- as opposed to say a 6 piece rock band- tends to fry my brain. I often take the cheap way out and master for correction rather than dive back into the mix- not a good thing to do I know. Thanks for the vids Anne. You really are something special to have access to. Much appreciated.
Top episode! Agree with all. Maybe the grid discussion not fully. It makes sense for film composing workflow, editing, recording etc. But if you're purely making mockup then... oh heck youre right. Floating rock, breathe 😂
you are going to have to get out of bed earlier to offend me petal, I love these videos they are such a breath of fresh air and leave me with a smile and plenty to think about, keep up the good work 😎
AKD, always a pleasure to hear you! I love your humour. Regarding the grid, yes being on it is good in general, obviously, but some instruments, for instance slow pads or slow strings, need sometimes a certain negativ offset to be actualy sonicaly on the grid, if not you can sound late. About the ensemble patches I think they're a good tool for preliminary sketching, finding ideas, let the fingers run on the keybaord. After I switch to inidvidual registers.
Do you use negative track delays? So you can still program the midi on the grid while having the DAW play back the sound a wee bit earlier... Works fine in most cases for me. Or was that what you meant by negative offset anyway?
@@gillianbanemusic Obviously I do, like many of us, but the track delay treats the track as a whole, same offset for all the midi notes in it, and sometimes, not always, you could need to be more precise, for instance when the attack time varies with the dynamic and/or the pitch of the note. Depends of the patch, depends of the synth, depends of the libray, etc... And depends of your intention in this moment of your piece as well. So in my case: grid= yes, easier, cleaner, but in some cases with adaptations after the composition process 😉
Thanks for another very interesting video. Your mix example seems to contain more compression than I would venture. Your EQ sounds like a smiley curve and I would also be afraid of stealing the soul of the orchestral instruments. I would be very interested in a video about mixing.
Vielen Dank Anne-Katrin. Sehr informative und lehrreich wie immer. Ich wäre Ihnen sehr dankbar, wenn Sie einen Clip über "orchestral mixing" produzieren würden. Beste Grüße aus Stuttgart.
![[LIVE] : ONE ลุมพินี 88 | คู่เอก "ป้อมเพชร vs อัสลามจอน"](http://i.ytimg.com/vi/1ZqTVVbMgbo/mqdefault.jpg)
I noticed when I edited the video that the mixed version has the highs pushed a bit too much for my taste. I did that mix in 15 minutes so it can certainly be refined. The point is really about clarity in the track - hearing all the elements without too much effort. Everything else (amount of EQ, compression, reverb) is a question of taste. We'll get more into that when I make my mixing video though. 🙂
Yeah, I was like "What? no way!" 😊 I look forward to that mixing video, or probably more than one as it's a very large topic.
Looking forward to the mixing video.
@@dbmusicproductions9181 me too!
👏👏👏Absolutely fantastic. I am 55 yr old mom of 8, finally composing after 25 yrs of homeschooling 😅. I studied voice and composition in college, and now I'm on my first project of an orchestral version of the hymn, "Be Thou My Vision." I've been a musician and vocalist for 45 years, and experienced more rehearsals than I can shake a stick at. All to say, that everything you've pointed out (and so well!), has confirmed everything I have done or figured out so far, because these points are reality in live or analog recordings. I really needed to hear someone voice those extremely important details for truly realistic orchestral music, giving me greater clarity and confirmation. THANKS. You're so brilliant---really.
I would LOVE a full video of “synths in orchestral mock-ups” 🙏🙏🙏
2nd that!
3rd that
Yes! Plus blending live instruments / layering different libraries together.
id love a video on parallel subliminal position of non-coaxial deltoid cardioid positioning of microphones on ethnic tambourines in un-roofed cathedrals
That would be great 👍
The depth of topics you cover is remarkable. Your ability to simplify complex musical theory and technology, paired with invaluable industry advice, is a rare gift. The perfect blend of humor, authenticity, and realism makes your content both informative and enjoyable. Thank you for generously sharing your expertise with the community!
I really like your more direct and honest approach as of late. Tell it to us straight and my learning curve steepens. I am an amateure but I have learned a lot from you and your channel, so highest time to say ‘Thank you!’
Definitely one of the best composing teachers on TH-cam.
"and i will die on this hill"
My wife was describing an argument she was having at work and came out with.
"This is not the hill that I'm going to die on, but it is the hill that I will leave the bodies on"
I feel like the grid rant was a very similar energy. Well done
🤣 THAT'S a saying I'm going to use from now on!
"Por-ta-tos? Boil em, mash em, stick em in a cue?"
Sorry for the nonsense my brain came up with 😂. Great video! Thanks!
Porteitos, portatows; let's call the whole thing off. Excuse me for my nonsense
What's Por ta tos, precious??
Portato is way undersampled sadly.
I’ve been subscribed to your channel for a while but I’m only getting around to watch your videos now. I’m sorry I’ve waited so long! What amazing content from what I’ve seen so far - fantastic work. I’ll defo drop by way more often now. Thanks!
You nailed it. All 100% true. Okay now I’ve got to watch your other videos. I love getting other composer’s perspectives and incorporating their ideas. Why reinvent the wheel? Great job!
The beginning of the video was so soothing. Thank you for capturing that footage
Great to see you back here 😊 I would love to learn more about how you layer different libraries together.
A good way to add expression is to use a breath controller to modulate the MIDI CC destination. Especially for a wind instrument, it's a very natural thing to do.
This is an entire masters midi course for Film Composition in 18 minutes. Really excellent coverage of the most important points, some I'm still guilty (read: lazy) of even now! Thank you!!
Hi Kathrin, great video! Could you explain more about synthesizers and how they can double instruments in another video with more examples? I’m really interested in this topic 😊🙏🏻
+1. This needs a full video
@John-fq2py theres a lot of cool stuff you can do doubling instruments with synths, just to tide you over heres a couple of example:
You can use some kind of soft bassy synth patch to add warmth and a bit more fullness to a bunch of different instruments, including fixing up how much of a punch brass can pack, etc
You can double using high synth plucks similar to how you might double with a celeste to add sparkle to the high end of an instrument
All kind of pads can double strings very nicely to add more sparkle and space to the section
Yes! For a while I've been requesting a video covering basic synth tricks
@@permutemusic Truly inspiring, thank you very much!🙏🏻
As an aspiring composer I feel SO lucky and grateful to have this information, thank you so much for making these videos and for sharing your knowledge 😊 x
Thank you for your great advice ... very much appreciated!
As a Brit we pretty much invented offending ppl and nations. We are quite good at it. At 62 I think being old and grumpy helps. I’m glad to say you have also developed this quality albeit at a significantly younger age.. Seriously tho great video. Very informative and entertaining.
Another great video, Anne!! Totally agree with number 5, the arrangement makes a HUGE difference!
I love your intros! So cozy ☺️
Where in Germany was that?
Thank you SO MUCH for doing this amazing videos Anne, really 💚💚 About the mixing separate video, I would watch you explaining it for 24 hours straight, no joke. I will be waiting it fervently, see you!!!
"Held together by thoughts & prayers" - I LOVE THIS comment and literally laughed out loud. Use that grid please!
Fantastic, as always. Thanks again for spending the time to create these super-helpful videos!
Oh perfect video timing, I'm working on the monthly mock up this month and I was worried it would suck...
Also when are we getting merch? "I meant to offend all of you" "pick a struggle bitch" "I see a whole lot of not my fucking problem." These are gold!
I'd totally get one!
And, for a more musician-based part of the merch store, I'd like to add "Brass is loud" and "Woodwinds are weird". Still looking for a proper strings-related quote, I'm sure there have been plenty but I can't remember one atm.
Nice summary. I'd say most of those bullet points boil down to not being very familiar with the nature of the type of music being produced-in this case, orchestral music (from a compositional point of view to instrument playability and how it's meant to sound).
Well said! So true.
I love your videos bc the contents are very useful but also your pronounciation and voice! English is not my first language😢 so I feel comfortable with your clear words
Great video. Thank you for this. I was recently wondering where my mock ups were lacking and these tips helped out a lot. Always great to see a new video from you.
"I meant to offend all of you" ... Hilariously classic!
I'm gonna go practice now... til next time.
Golden stuff clearly presented, thank you! And a ♥ for the Baden footage.
Always appreciate your posts. You inspire and teach with wonderful generosity. I love the progress in digitisation of music. I have had music locked up inside me all of my life and now in my old age it is finally out of the cage. So much to learn. So much to absorb. I am far behind the 8-ball and my pensioner's budget is frustratingly limiting but I have so much fun composing. Your post is not so much about what's wrong with my rather ordinary music, but it sets the bar high and challenges me to give every piece my best shot. I envy your natural talent but am in awe at your determination to produce music that excels at every level. Your technical knowledge has come with an enormous amount of effort and translates into beautiful music. That is what inspires me to keep pushing the boundaries and seeing improvements with each new piece. You, and a few other like you, have become my on-line musical friends and mentors even though we have never met. I compose for my own pleasure and to back my own videos, though these days more of my old friends seem to dropping off the perch and I get too many requests for requiem type music. Makes a great farewell gift and nothing helps grieving more than composing. Thanks.🤗
Here, here!😊 I too am in the back end of years, but onward regardless we compose, right? Keep up your work! I'm 55, just on my first project, which I began 9 years ago (I'm homeschooling the last 2 of our 8 kids). I absolutely LOVE being able to compose with my Spitfire Audio orchestral library---the free Discovery BBC Symphony. My budget is nil to nothing😄. Hopefully that'll change. But friend, keep up your enjoyment, and don't droop too much in the sadness of fugues 🤧. Blessings!
@@NoName-dr8wt Kindred spirit I see. I'm old enough to be your father (78) LOL . The sadness is not the fugues but losing old friends. I write heaps of joyful music. I can't afford the top libraries but sniff out some great specials and content myself with some great Soundpaint sounds. I can't read music and am self-taught on the keyboard. I feel music instead. Shared joy and blessings. Thanks.
Thanks for the video! I'm glad to know I'm on the right track with this. The synthesizer tip is fantastic. I definitely want to try that out now!
Another gem of a video and I LOVE your acerbic sense of humor! Thank you!
Re: saturation -- I would love some more talk about this especially. I feel like I get reverb, I get "separating" the mix with EQ, etc. but I don't yet have my head wrapped around saturation. I don't even really know what to listen for. And while there are loads of mixing vids already on TH-cam, few talk about saturation, and even those are coming at it from a pop music direction - nothing about its effect in an orchestral context. So that would be a big help!
Thanks as always for your insights. Some useful tips here! Take care. 😃
Would love a video elaborating more about how you utilize synthesizers in an orchestral score.
Thanks Anne-Kathrin - very helpful.
Excellent ass whopping 👌
I didn't realize No 7 was my bane until recently.
Lots of specials these days so didn't notice how similar some are until I really started learning the things inside out but it's all about having options for me when the creativity kicks in. I like having different tools that make me think differently when I write, sometimes fiddling with a tool can lead to interesting workarounds or different unexpected directions but that's only valid in experimental. I also understand how being on a timeline for a contract makes an effortless workflow important to also have in your arsenal.
Thx 👍
Thanks Anne. Always clear and practical! Ciao
Very interesting and useful bit about doubling orchestral patches with synths, thank you!
Would love to see a mixing video from you. Personally it's the part I struggle most with.
Great advice all the way through the video, thanks for taking the time! We need to start a renaming campaign for mockups though haha 😊
Always with the helpful advice, Thank you! 14:46
I love your video's so much, they are extremely helpful. I am also in love with your makeup!! That lip colour is everything!!!!
Layer strings with a synth patch, then another synth patch, then forget the strings and do Bladerunner!
Though I knew many of these things intuitively, your explanations of why they do indeed matter were extremely useful. Great info, as always!
Helpful tips. I think mine sound pretty good usually, but I have struggled with sting runs. Going to try layering in other articulations.
Deine Lockere Art, Wissen zu vermitteln find ich super 😊
WHAT?! We're on a floating rock in SPACE?! Is someone doing something about this?!
very interesting! thank you for this, looking forward to your mixing video :)
Great Tutorial!Thank you!👍🙏
Awesome advice! Thank you so much! I’d love to see/hear some examples of layering synths with acoustic or natural sounding instrumentation. I do this all the time with my compositions even using unconventional methods and instruments with melodyne and guitar layers to midi. However I’d love to see your examples of how you do it. 🌟
Thanks Anne! Will be using the humanise function in cubase! Much appreciated!
Thanks for this video.Being in the grid - I'm guessing that this means to be recording as much in time with the click. And then quantizing if necessary, so you can cut/paste midi anywhere you like and have it slip with ease into any place of the DAW score without having problems of notes cut off at the beginning of bars, because the first beat of the bars notes are in the ending of the previous bar etc etc. Am I correct here? Thank you if you can get back to me here. 🙂
She's just releasing banger after banger. hell yeah
I love the advice on synths! Putting a sub bass under contrabass was a revelation for me a couple of years back. In general, the moment I internalized that I am not producing music to sound like a live recording, but an effective underscore, was a turning point. I didn't think about experimenting with synths to enhance other sections, at least consciously, so that's something I am definitely going to try.
Also, interesting opinion on the grid. I feel like every tutorial out there on the contrary tries to make a point how grid is bad, because it makes everything sound mechanical. I'm kind of wondering if it's just a placebo effect that makes imperfect tempo mask bad CC programming, because it's so "raw and human". As a composer, who is bad with piano, and with a small studio without space for a lot of keys, I work a lot of in the grid. I feel like I make better orchestration decisions on the grid, when I can decide where the voices go "in slow time". I do definitely re-record some parts to humanize them, especially if they're on top, but I'll definitely be less liberal with tempo after watching this.
Also, a good point on saturation, it's another technique that I discovered for myself, after neglecting it for so long. Definitely one of those secret sauces that separate bright professional mixes. My biggest revelation so far has been using it on the brass chords to get that "tearing" sound. Definitely going to wait for that video on saturation.
And I agree on panning - sometimes I come back to my period of "hard panning" in my mixes and they sound weird and out of phase.
This needed to be said...thanks, Ann.....
One point that is not mentioned a lot is western orchestra seating vs eastern orchestra seating, in some cases I was able to achieve better stereo field by flipping the channel of second violins when they play phrases other than harmonies. Great video
Great! Thank you
Thank you very much for all your Videos who are very helpful ! The moste i like this Video and the 10 Beginner Mistakes Video,
its also for non beginners very much to learn from your advices !
Sorry for my last comment, i have get so much inspired from your Video so i have write to much of my thougts and things what im fascinated about Filmmusic.
I understand now her is not like a forum to discuse.
This was so sick ty
Really nice one 🙂 Layering, embracing the grid and using (not abusing) synths are my favourite ones ('tho YMMV)
This was great! Thank you...wasn't triggering to me😁
Love It!
"Held together by thoughts and prayers" - hahahahaha - perfect!
Great video Anne-Kathrin! :) Do you have any suggestions on synths (digital VSTs or real models) that you would recommend to layer with strings, brass, etc., for that fuller sound?
Days off this week so tuning in here. The grid comment is hilarious Ann-Kathrin Dean! BTW years ago I was Been on a tv session that will remain nameless that because the midi composer told the contractor or whatever when the part needed to be changed, "We will have to go home and re-do the parts and come back another day to do the session with the orchestra OK?" YIKES! Needless to say, they were replaced or never saw them again. Keep in mind the orchestra had to be paid for that day. WOW, that was an expensive day for the show and production.
thank you!
Leaning my sample libraries has been a big focus for me this summer. Spent a decent amount of time learning the ins and outs of Berlin Symphonic Strings and features within the Sine player I didn't know about (mic merge being my favorite Sine option).
I had not considered editing the panning in a finale to open the stereo field. I would love to hear more about your mixing approach. Thank you!
Thanks for the video 😀
That shade of lipstick is stunning
I always chuckle how some people use samples and write in the wrong ranges.. Listen to styles in recordings and also study how the instruments are used in older and new ways.
I like the idea of using synths and sine waves to thicken other sounds, especially bass.
Thank you Anne
I watched a replay of a class you did for Marc Jovani’s Cinematic Composing program. Such useful advice there as well as everything you do on this channel. So this felt like a good time to express my thanks for contributing so much to the composer community. BTW, if you feel like it, I’d love it if Marc could get you back for more workshops. Caveat, I’m in his Momentum program now, so I guess I’m biased. Great program with great mentors, would recommend (oops, is that shameless plug allowed on this platform? :)
Solid tips!
Good morning Anne, great tips and you can bet I am going to practice and add them :-) - About playing on the grid, I understand what you are saying and I wrote a few small pieces not using the click because I thought playing how I feel create more emotion, however, as you mentioned, it is all over the place and not really sound that awesome all the time lol. When a live orchestra is conducted the conductor will slow down or speed up a tempo in certain passages. To do that with the sample library are you after you recorded everything on the grid make adjustments in the tempo ruler to create the ritardando and accelerandos to have it not sound too precise/robotic or do you stretch out the note value/length of a section to create a ritardando ect? - Also, a video about how you EQ and compress your mix buss would be amazing 🙂
Thanks for sharing your knowledge, experience and love with us all...
Thanks!
Thank you so much!
Danke!
Annie, thank you so much for your amazing content!
There is always a lot of useful and accurate tips for practical work.
My question is this: I’m used to composing everything in the sibelius music editor and only then transferring it to the DAW. This is not always convenient, it’s just that such a habit has formed due to the specifics of the work. I know that you also came to the industry from academic music. If possible, address this topic in your video podcasts. Thank you! Best regards!
17:50 what she is talking is called ghosting in which you use synth brass or strings or basses to thicken the bass sounds and make it cut through the mix
So thankful I found your channel! Could you do a vid just on synths and thickening up the orchestra?
Great video! Never too much "know your gear stuff" 😅
In the template topic, in my opinion it's worth to try at least "track template" (some daws are having this function) if someone doesn't like huge templates with hundreds of tracks.
It's easier to set up one section from specific library, the routing, mixing chain etc. than "one to rule them all" template of all time.
And in the end it's much faster to open one track template and work with that, than open "300 track template" just to use one string ensemble 😂 Thanks to that my project grows naturally with my needs really easy and with every instrument already set up... worth trying!
Thanks for a very educational video! I have a question about something I have been struggling with for a while. I have a problem with sudden jumps and drops in the level of expression when using an automation curve in cubase. I have tried different libraries, but currently use BBC core. I find that it usually happens when using string long patches such as a cello patch. The expression curve can be a straight ascending or descending line, or a smooth curve, despite this there are seemingly random jumps in expression/volume. I only have one automaton curve, expression. Am I doing something wrong? I am new to to world of DAWs so I assume it’s me doing something I shouldn’t 😌
I'm using GarageBand. I've learned that there are 2 threads of automation, like expression and dynamics. The piano roll (in the lower area at the screen bottom) allows for automation, just as in the upper area where individual tracks also allow it. The lower area in the piano roll overrides the upper track automation. I had that confusing situation myself until I figured it out---I'd seen my virtual control knobs mysteriously rise and fall, despite no apparent automation. All to find there was automation or even volume automation left in the second area (before learning). So now I just use the piano roll to enter expression and dynamics (and other things). If something drops in volume suddenly, then I go back and find that extra automation was left in the upper track area from some earlier time. Clean up can be tedious to workflow.
Thanks 🙏 I never thought that there could be another automation track coursing problems. I will explore this as soon as I have some free time. 👍
If you are working in the grid, do you employ any tempo variation? Also, if there are expressive or lyrical solos/lines/etc, do you use timing variation to make it more expressive?
My experience with recording pop music is that the click majes things sound robotic, but at the same time it is more rhythmic with a definite pulse and uses loyalty of instruments with short attacks....
Spot on!!!
I'm currently working on improving my mid-low strings orchesteration for fullness. I sometimes cheat with rimba-like synth sounds for growly impact. Rimba = physical modeling of rimba tubes, but different shaping.
💙Ahhh, the strings---they're so rich. Especially if they're parted out in 4-part writing style, which is a challenge for those like me. But it has been more than worth the effort! The strings, brass, choirs, wind instruments---all sections---THRIVE on 4-part writing rules, despite the modern backlash against "archaic" composition rules. They work for good reason, the proof of which pleasantly rests in the human ear which God designed😊.
Interesting comment re sticking to the grid, I'd come to the same conclusion following a fair bit of pain exactly as you describe! I'd be interested to know how you deal with tempo changes though whilst composing, not so much big step changes but just pulling the tempo around a bit for feel. I tend to sketch stuff out on the piano and sometimes end up finding myself speeding up a bit, for example, for effect but then have to spend ages in Cubase trying to map the tempo change to work out what I did. Do you plan such things in advance and get the tempo track sorted first then play along to the grid? It feels like there must be a better way than how I'm currently doing it!
I'm sure like me, there's tons of us who can't even PLAY piano. I'm a programmer so yeah, I live on the grid. I for one hope you touch on mixing in a video. I mix while I write and over long hours and days the running 'mix' sounds great, only to be a muddy mess of crap in the final analysis. I try not to mix until I put a couple days between finishing the piece and mixing but babysitting tons of tracks- as opposed to say a 6 piece rock band- tends to fry my brain. I often take the cheap way out and master for correction rather than dive back into the mix- not a good thing to do I know. Thanks for the vids Anne. You really are something special to have access to. Much appreciated.
Top episode! Agree with all. Maybe the grid discussion not fully. It makes sense for film composing workflow, editing, recording etc. But if you're purely making mockup then... oh heck youre right. Floating rock, breathe 😂
you are going to have to get out of bed earlier to offend me petal, I love these videos they are such a breath of fresh air and leave me with a smile and plenty to think about, keep up the good work 😎
I'm guilty of not setting my template (or rather, not using it - I have one...). Great video.
I had a great time listening to you
AKD, always a pleasure to hear you! I love your humour.
Regarding the grid, yes being on it is good in general, obviously, but some instruments, for instance slow pads or slow strings, need sometimes a certain negativ offset to be actualy sonicaly on the grid, if not you can sound late.
About the ensemble patches I think they're a good tool for preliminary sketching, finding ideas, let the fingers run on the keybaord. After I switch to inidvidual registers.
Do you use negative track delays? So you can still program the midi on the grid while having the DAW play back the sound a wee bit earlier... Works fine in most cases for me. Or was that what you meant by negative offset anyway?
@@gillianbanemusic Obviously I do, like many of us, but the track delay treats the track as a whole, same offset for all the midi notes in it, and sometimes, not always, you could need to be more precise, for instance when the attack time varies with the dynamic and/or the pitch of the note. Depends of the patch, depends of the synth, depends of the libray, etc... And depends of your intention in this moment of your piece as well. So in my case: grid= yes, easier, cleaner, but in some cases with adaptations after the composition process 😉
@@FLH3official ok I see this problem never occurred to me (if I'm not running keyswitches) but good to know it could happen one day.
Thank you.
Yes to all of this!
Thanks for another very interesting video. Your mix example seems to contain more compression than I would venture. Your EQ sounds like a smiley curve and I would also be afraid of stealing the soul of the orchestral instruments. I would be very interested in a video about mixing.
Me reading the title:
Your mockups suck!
Me:
😭😭😭
Well I guess someone had to tell me
Vielen Dank Anne-Katrin. Sehr informative und lehrreich wie immer. Ich wäre Ihnen sehr dankbar, wenn Sie einen Clip über "orchestral mixing" produzieren würden. Beste Grüße aus Stuttgart.
I bring my thick skin to all your videos 😂
Thx, Anne-Katrin. j.