Відео

Emailing you back now. Thanks for letting me know!

Thanks for the kind words, glad you enjoyed it!

@@johncfoster7949 thanks for the kind words!

Thank you so much for taking the time to comment! I’m very happy to hear it was so helpful, that’s exactly why I made this video. Any specific things you’d like to see in terms of tweaking drums and perc, piano, synths, etc? Not sure how soon I’ll be able to get another video out on this channel but I’m keeping a list of ideas for videos for when I have the time!

Glad to hear it, you’re welcome!

Great suggestion! Will add it to the list :)

Thanks for the feedback, Wesley. Can you give me and example or two please? My goal is to make these videos as valuable as possible

@@MarkHimley As a complete beginner with DAWs I didn't find anything not needed in this video. It was encouraging, and has given me things I can do to get more out of the DAW I use than I have so far been able to. I have been cursing 8Dio, even with their massive 90%+ discount. Now I can take a step forward. If someone doesn't need 7 tips to achieve realism why are they watching what is clearly meant as something for someone who does need them? Experienced and insightful people could perhaps be more judicious in how they spend their time online.

There are a few. One of the biggest is to save CPU. Let's say you want the same reverb on all your orchestral instruments, for example if you're using a scoring stage reverb. Instead of having to load that reverb on all of them, or all of the stacks, you can simply send them all to that one reverb bus. This is the same if you're using any other delays/reverbs that many tracks are using and sharing. Another big reason is that it's much easier to control the dry/wet balance and it often sounds a bit more realistic. To my ears - it's much easier to achieve the sound of "putting something in a physical space/place" with using reverb sends. If I'm really wanting the sound of the reverb though, like really washing something out or using the reverb super heavily, I'll just go ahead and put it right on the track or stack. More simply - if I'm just looking to use reverb to achieve a realistic sound, I'll use a send. If I'm using the reverb more as an effect and for a specific vibe/sound, I'll often use it as in insert on the track. Hope that helps! As with anything - do what sounds best and gets you closest to what you're trying to achieve.

@@MarkHimley makes sense! Thanks for the speedy reply brother! Hope you’re having a great weekend!

@@FrankBell My pleasure, you're welcome! I am indeed; hope you're having a great weekend also!

Chopping them up is a great way to use them! Also consider changing the bpm/tempo, changing the key, and processing it. The more you process it the better. Also - just think how likely someone else got the exact same sound as you.

Did something in the video sound similar? I haven’t listened to those soundtracks in years, but I used to LOVE them growing up!

@@MarkHimleyat 0:20 sec. Sounds similar to halo 3 main menu theme bro! Very very close

@@alexismacias3567 oh very cool! I’ll have to go back and listen. That example from this video was based on “Nuvole Bianche” by Ludovico Einaudi

That’s a huge compliment, thanks! Glad it was helpful!

I’ll add that to my list and get a download ready as soon as I can 👍🏼

Just recreated this today for you, will add to the description for everyone else also. Thanks for the suggestion! You can download this template for free here :) www.markhimley.com/logictemplate

Sounds like you were already on the right path, automating expression will help a ton though! Thanks for taking the time to comment.

You’re not wrong, but it’s too many headaches. You’ll lose out on deals and money if you use melodic and harmonic loops unaltered. A lot of music libraries, publishers, sync agents, etc now all Shazam music before they sign it. Have heard this directly from them. If other songs come up with the same loops it’s an instant rejection. If a song gets used, or worse yet a stem is that song (perhaps the loop isolated) and there is a battle between whose song it is.. likely no one gets paid. The money enters a black hole and no one wants to work with that artists again. Is it legal to use royalty free loops? Yes. The cons far outweigh the pros within sync though. If you have to submit your license for the samples everytime you use them people are just gonna pass on you and use someone else’s music.

​@@MarkHimley You're not wrong about the Shazam thing either. There is a work around that though. Also, just take a look at how record labels sample music all the time, it"s in the credits there's no denying it. Personally I don't think it"s a headache. Like that Jermain guy who shows the samples through out time. Take a look at Will I Am, Dr Dre, Kanye Ed Sheeran, etc.. those guys weren't afraid so why should we? Don't get me wrong, I am not saying to sample on Syncing Works per say, but just to not be afraid to sample to gain exposure. Look at all the history of all DJ's and what they're doing now on the "turntables/music software programs" with the Algo's doing all the heavy lifting. I could go on BeatStars Tracklib etc. It's laughable at times but yet there they are selling out shows playing samples and what not. I know I am opening a can of worms here lol but we must use what we know to our advantage not disadvantage. Lastly, I agree with you about not sampling on syncing works, most people wont know that though unless they've been in a real studio. Just cross your t's and dot your i's when sampling and you never know, one sample might outweigh the other and take off and the records labels or execs would not care that it's a sample but a good rendition.

You’re welcome, glad to hear this was helpful! Negative delay is a complete game changer that’s for sure.

Thank you for the kind words! It's absolutely my pleasure. For buses I only ever use Stereo. I can't imagine a reason I would need to use Dual Mono for a bus. Typically I've only ever used Dual Mono if I need to correct something in an audio file like one side being louder than the other, one side having harsh high end that the other doesn't, or something similar with mid/side issues. I very rarely use Dual Mono for that though. Usually I rely on plugins that can do similar things, just seems to be a better fit for my workflow.

Glad to hear it, you're very welcome! Thanks for taking the time to comment

You’re welcome, thanks for watching!

I understand the criticism and it’s a fair point, but I stand by what I said and showed in this video. I’ve heard plenty of tracks where people can’t figure out why their orchestral music doesn’t sound good and it sometimes it is that simple - they’re using horrible sounding samples. At least as a starting point, it’s important. None of the other tips matter really if your samples sound like a Casio keyboard. Thanks for your time and feedback.

Yes it absolutely is. I actually give away free royalty-free samples every single week that are all sync friendly. Sign up for Free Samples Friday if you're interested: freesamplesfriday.markhimley.com/

Thanks for watching!

Usually I just make a note of it and save it for later. I don’t particularly like to stop mid session to go do busy work. I’ll have a dedicated time set aside for template updates and other similar tasks

I do not yet, but will add it to the list

Not sure why you commented Bob Ross, but I'm a fan!

Haha totally know that feeling!

Add some real brass over the top of fake brass. Works to fool the ear that it's all real. Learn or drag an ok player off the street.

Thank you so much for the kind words and taking the time to watch and comment! I am proud indeed.

Thanks! I have tons more planned, just gotta find the time to make them.

Thank you for taking the time to comment! You make a very, very good point. It is one that I actually agree with. The way I look at voice leading is sort of the same way I look at music theory. I see it as a tool that you can use and lean on to your benefit, but not one that should control you or box you in. I think understanding voice leading is very helpful, as is understanding music theory, but you should feel free to "break the rules" if it serves the piece of music you are creating. I agree that changing the voicing of the chords can totally change the mood. You should always serve the music first in my opinion. In this video I was more so focusing on the technique of voice leading as a tool you can use for more natural and smooth string writing (instead of having notes jump all over the place). It wasn't meant to be a hard and solid rule to follow for creativity. To answer your question directly - do whatever sounds best and best serves the music you're making. Either option you presented could work just fine. There are no true rules, only guidelines and suggestions. Hope that helps and makes sense!

Thanks, Paul! Haha sorry for adding to your plugin wishlist, those are all great tools though! Use them all very regularly. Speaking of Surfer EQ 2 - I found that one originally in a video where Oak Felder was breaking down the production for Demi Lovato’s “Sorry Not Sorry”. It has this really cool feature where it “surfs” and follows frequencies. So like for an 808 it’ll follow the 808 around ducking the right frequencies when sidechained. Super helpful for hip hop and anything with big 808s. The harmonic filter was just a cool secret bonus I found. Check out that video here: ua-cam.com/video/RD1tIcDlunE/v-deo.htmlsi=_vibqcgJlqeOiH96 Re: Melodyne - yes I use it all the time in unconventional ways. It’s such an underrated tool that can do so much more than just vocal tuning. Thanks again, Paul!!

Glad it helped!! Thanks for commenting

Totally get this. It deterred me for a long time too and honestly is a huge part of the reason I don’t make more orchestral music. A LOT of the time goes to midi editing and all the digital stuff.. I wish I had the funds to just hire real players every time.

Yep.. just use obvious synths. Nothing to try and fool the listener.. They've made some serious strides when it comes to emulating orchestral sounds, but it ain't there yet. Drums and bass sounds have gotten there ... guitars, and layered chordal type instruments still sound fake.

@@Fiveash-Art You got that right. I'm a guitar player, and the guitars are still laughable; even the strings are better, lol.

I don't know that anyone would prefer to use orchestral sample libraries over the real thing, but most people (myself included) can't afford to hire and record real players every single time. I would much rather use real players, no question. But I can't afford it. Sample libraries bridge that gap for those of us who want to still make orchestral music. Usually I prefer to make hybrid orchestral music so I can blend in obvious synthesized sounds and such.

@@MarkHimley Not criticizing .. I've heard a lot of programmed orchestration where I'm hard pressed to tell. It's why a lot of television and video game developers employ this method for the scores all the time. People who know what they're doing with them I say yeah man. Keep working that stuff. People who don't .. like myself.. I'd rather got to obvious sounding synths because it feels less contrived. The technology is getting exponentially better all the time and I'd bet they'll even have guitar emulations that sound real in a few years from now.

Totally understand the frustration! That's a common complaint, however it is a flawed one. I hope I can properly explain it and help alleviate your frustration. It might be worth watching other videos on negative delay and how orchestral libraries are sampled and scripted. The reason for the delay is that you want the notes, depending on the articulation, to sort of ease into the full velocity. If you recorded top level orchestral players to a metronome, and then zoomed in on their performance inside Logic, you would see that for most of their articulations they are actually starting their notes *ahead* of the beat. This is natural. A violin bow, for example, is not like a synth in its attack timing. When you bow a note, it doesn't instantly start at full velocity. You ease into it, and that has to be in the sample. If they just cut off the beginning attack, and started the sample at full velocity so it played perfectly in time with no adjustments, it would sound very fake and non-human. Yes, it would be "easier" to use, but it would be an inferior product and sound very fake and digital. Think even when you strum a guitar chord, or play a piano chord. All of those notes aren't hitting exactly at the same time. They sort of have a flam effect (the notes are staggered in their attack and transients). As a musician you naturally account for this and adjust your timing to play "in time". The beginning of your attack might be ahead of the beat super slightly, but the accent where you hit full velocity will be on beat. Hope that makes sense. These companies actually put a TON of time into getting that negative delay perfectly, and they document it accordingly. The point of this is so that for example when you add -60ms to your negative delay, it's taking into account that 60ms of attack time to get to the full velocity. This allows for the most authentic and natural sounding samples possible. Hope that makes sense!

@@MarkHimleyWau, thank you so much for explaining this 🙏🏻🎶🌸

I don’t disagree with your statement at all, in fact I mostly agree with it. While I packaged this around quantity sort of (make more music in less time), that’s not the only benefit of using a template. That is a huge benefit for media composers and those focused on making high volumes of music for licensing. However, a bigger benefit in my opinion, is eliminating the non creative and analytical work. Templates like this allow me to be more creative as I don’t waste time setting up different tracks, my reverbs and delays, etc. it’s just ready for me to make music and stay creating and in the creative flow. I’ve gone through phases in my life as we all do, and I am much more now in a phase and season of focusing on quality and actually trying to spend time doing meaningful work. I don’t do much music for licensing at this current time. A quote you and others may enjoy… quality beats quantity, but quality quantity beats quality. However, the only way to get to quality is through quantity, that’s the irony. Thanks for your comment! I do appreciate it.

Hopefully a good crazy!

My pleasure, you’re welcome!

You're welcome!

Great catch and great question! That is somewhat optional, it just depends on how you want things routed. If you're doing a lot on the Premaster channel (like big volume changes or unique processing) and you want your delays and reverbs to be affected by those same changes, then definitely route them through the Premaster channel. I have done this before for that reason.. I should probably change this in my template because 99% of the time it makes more sense to have those sends routed through the Premaster channel. Thank you for pointing this out!