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I personally find it more difficult [trailers]..
juggling a full orchestra, choir, synths, loads of massive drums is a production nightmare..
and also basically writing something that has to have all the contrasts of a symphony but is the length of a single.. lol..
those little 2:30 to 3:30 pieces take months to nail...
it took me over a year of failing before I managed to get a trailer accepted
that piece was ok.. but nothing special [especially production]
I spent many months [more than 6 in all] studying the work of others [including Zimmer, Shaw, Williams] to try to understand their production methods..
then I had the eureka moment.. everything started to make sense.. and the production took a quantum leap..
that piece was saved as a template and is now used as a starting point for every new piece..
if you want help about how to get instruments / instrument sections to interact, just shout
Here's another recent one, only a couple of minutes long, but attempting to resurrect this thread!
Add to that a 14 in 12 out mixer interested and proper software with studio one pro.. ..
If I could get my head around drum patterns (synth style or more acoustic drums) and had the remotest idea how to write lyrics, I'd had good to go.
I can however see myself doing some synthy/ambienrstuff minus lyrics.
if the orchestra and piano are using different reverbs, I'd suggest using the same one for both and with similar or the same wet / dry settings
they sound very good too and so are ideal for people that have little experiences with drums
Hi mate, thanks for the feedback. Changed it, and the piano is now going into the same buss as the strings, and it sounds a lot better. I was thinking the piano sounded to wide, so I put it into a different chain, different reverb & EQ, but, putting it back in with the strings and adjusting levels, it sounds a lot better. I agree, it did sound isolated, unnatural before, hopefully better now.
I usually run several reverbs for different reasons..
one will always be labelled 'ambient' because this will be the space into which I place absolutely everything
for a band this will typically be a shortish room
for an orchestra something much bigger like a hall or cathedral type
for this I tend to use convolution reverbs because I'm trying to emulate a real space
for a sense of 'depth', instruments closest to you will be driest, and those deeper into the room will be wettest
so in a band, the guitars, bass and vocals get a small hint of this so they are right up front and the kit will get a lot more
with an orchestra, the whole thing is deep in the room anyhow so everything is pretty wet..
the strings get the most, the woodwinds get more, the brass even more, the percussion more again, the choir and organ get the most..
note that this is simply setting up the 'room'
on top of this I'll add other reverbs purely for creative reasons.. like a longish digital reverb for a lead guitar of vocal..
or if I was a really spooky cinematic piano I'll drown it in an arena
so.. you have two reasons for reverb:
- a space into which you place everything so it all sounds like it's performing in the same place
- pure effect.. being creative / artistic
it's perfectly fine to do both at the same time
@Clarky nice stuff on reverb. I love all this. We need more of this thread!!
PS - hope all is well in Clarksville. All is good in Snapsville.In other news, I have a building gas for two things: a Baja Tele, and an Epi Sheraton Pro II. Lmao....
no probs with the reverb tips.. they're things I sort of discovered / figured out the hard way..
by wondering why my mixes weren't working and experimenting / thinking about how sound works
something I find myself doing when I'm in an interesting sounding place [indoor carpark, stairwell, or out in a valley or surrounded by big buildings etc] is to clap and listen to what happens
listening for the tone of the reverb and echoes
firework night was interesting listening to the big booms echo about the buildings..
the interesting part is that the sound coming back at you can be very different to the original
digital delays and reverbs tend to throw exactly the same sound back at you.. which is un-natural..
this begs the question: do I want to be realistic or not?
the answer is..... both..
place the band / ensemble / sound source in a realistic space [convolution reverb / delay]
sweeten and get 'arty' with whatever takes your fancy [convolution, spring/plate, analogue, digital]
so in a band mix, the lead guitar will be placed in the same 'space' as the rest of the band to glue it into the mix, and the reverb may be a digital one [re-EQ'd so it's not intrusive] with a cool bucket brigade style delay [with the hi's and lows cut and a bit of distortion added]..
note: if the delay is in parallel [via an aux channel] I'll always feed the delay in to the sweetening reverb so it's tails are not bone dry [to bring them in with the rest of the guitar tone]
I do this in my live setup to in the Axe-FX
I fly out to Tampa early Feb
lmao, Tampa is a bit more exotic than Burnley!!! Have a great one, that's brill mate, hope it goes well. As they say round my parts: rock the chuff on.
Did this a while ago, then forgot all about it, blame Christmas
cheers