Well done Paul and thank you for your priceless videos! To avoid some extra low end problems, I never mix the double basses with the LFE on the same track. I prefer to always send my stems with my LFE alone on a separate track to the mixing engineer.
The EQ treatment is the most interesting tip amongst the 3. And I blame Christian for inculcating in my mind using a sub to thicken up the low strings 😀
Thanks Marco - yes we all used to have the DBX 120A's and things like that - there are loads floating around as they used to be used in the Disco era to make the clubs rock!
@@PaulThomsonMusic worked perfect.Amazing sound.Thanx again for this .But the link doesnt goes.I did just watch the setting an rebuild it.Would be very nice ,when you had tips also for the mid and high range.
wouldn't it be better to use portamento on the sub bass so it glides with the legatos? lo air seems like a great option cause you dont have to worry about that, it just does exactly what the signal is doing.
you can do this but he is right that it will sound weird. to fix, you can put the synth in mono mode, but not legato and have your amplitude envelope have a higher attack. be sure portamento is off
Oh, don't you worry, I can definitely hear the sub-harmonic synth. My room is a small square with a bass response that can take one's head off if not careful! xD
Hello, Paul, thank you for the valuable content. If you feel like it someday, it would be great to watch your real time composing with Abbey road 1 collection (like you did on spitfire channel many years ago).
Compression affects low frequencies way less than high ones. UA-cam's 128kbps AAC compression artefacts are practically indaudible (they're about 60db below the main signal). That equals about 0.1% in level, which is about as much as really good speakers get in distortion ratings (during regular/slightly elevated playback levels). Just random facts someone might find interesting :-)
I think it depends on the context of the production. If there's minimal instrumentation happening then I'd be hesitant to mess too much with the original tone, but I guess careful exaggeration of the tone can add flavour. Good example would be in hybrid orchestration or those monster ostinatos with big hybrid percussion.
@@gowoke_gobroke it's definitely not the Abbey Road sound if you've made significant EQ moves and you're critiquing the voices in solo or in a minimalistic arrangement. I'd say in general, sometimes EQ will be required for a better balance between instruments so it doesn't get all washy and muddy due to the combined room tones from separate VST's. Imo adding a fat boost in the lows of a string section shows you've chosen the wrong source in the first place, or you need to find something else like the sine wave to fatten it up neatly.
even recordings for films are sometimes adjusted with eq. it's all creative decisions in service of the particular end goal. also, sometimes you might actively *not* want it to sound exactly like abbey road
hey, I am hrishikesh honawad from India I'm 14 year old I wanted to talk to you sir on message or meeting I have just started on with film scoring and orchestration I wanted to learn how orchestrate from a piano wanted help from you sir wonderful video loved it hope you see my comment sir thank you in advance
Beware...you will not own the Waves plugins, you buy and you will have to pay Waves everytime you upgrade your MacOs for a update to your plugins in order to work !
![Spitfire Legendary Low Strings and Sparkling Woodwinds [REVIEW]](/img/n.gif)
What I really appreciate is that all the tips can be applied to any library.
Thanks Chris - they can indeed - should work straight - or just with very minimal tweaks!
Thank you for this. It is great to get your patch. Always good to have more ears weigh in on this.
Thanks Emil - glad its useful!
I appreciate you making the EQ moves with the stock plugins!
You're welcome - yes I wanted everyone to be able to load it!
Well done Paul and thank you for your priceless videos!
To avoid some extra low end problems, I never mix the double basses with the LFE on the same track.
I prefer to always send my stems with my LFE alone on a separate track to the mixing engineer.
Great tip thanks!
Thank you, Paul! This is just what I wanted to know :)
Glad to hear!! Thanks!
The EQ treatment is the most interesting tip amongst the 3.
And I blame Christian for inculcating in my mind using a sub to thicken up the low strings 😀
Thanks Marco - yes we all used to have the DBX 120A's and things like that - there are loads floating around as they used to be used in the Disco era to make the clubs rock!
@@PaulThomsonMusic shake the dance floor!
Thanks for sharing these tips Paul!
You're welcome Nico!
Thanks Paul. Timely as I am just starting a piece with a celli lead. Will definitely use the channel EQ
Thanks David - good to hear!
Fantastic stuff. Thanks, Paul. I vote for everything turned on hehe 🤭😎
Haha.. yes me too! more is always more
The AV system that I usually watch YT on has a powered 8" sub so I could definitely hear the solo sub-harmonic synth signal.
Glad to hear you could hear!
That 3k shelf made it sound menacing. Good tip for drama.
Yes - anything that pushes the sound forwards and adds intensity is great for this!
Cheers for that Paul !
You're welcome Trevor!
Thanx a lot Paul
You're welcome Patrick glad its useful!
@@PaulThomsonMusic worked perfect.Amazing sound.Thanx again for this .But the link doesnt goes.I did just watch the setting an rebuild it.Would be very nice ,when you had tips also for the mid and high range.
wouldn't it be better to use portamento on the sub bass so it glides with the legatos? lo air seems like a great option cause you dont have to worry about that, it just does exactly what the signal is doing.
Interesting idea but can sound a bit weird!
you can do this but he is right that it will sound weird. to fix, you can put the synth in mono mode, but not legato and have your amplitude envelope have a higher attack. be sure portamento is off
Oh, don't you worry, I can definitely hear the sub-harmonic synth. My room is a small square with a bass response that can take one's head off if not careful! xD
Hi Paul. The eq boost sounds good but could I suggest drooping the overall volume to compensate for the level change ?
Hello, Paul, thank you for the valuable content. If you feel like it someday, it would be great to watch your real time composing with Abbey road 1 collection (like you did on spitfire channel many years ago).
I shall do this soon! Thanks Roman!
I feel compelled to go and immediately try this with BBCSO as well...
Yes - works nicely on BBC too!
Compression affects low frequencies way less than high ones. UA-cam's 128kbps AAC compression artefacts are practically indaudible (they're about 60db below the main signal). That equals about 0.1% in level, which is about as much as really good speakers get in distortion ratings (during regular/slightly elevated playback levels).
Just random facts someone might find interesting :-)
Interesting thank you!
Watching this on a Galaxy S8+ through the internal speaker is, errm, interesting 😂
Why would you want to add EQ to what is supposed to be perhaps the most perfect recording room in the world with first call players?
I think it depends on the context of the production. If there's minimal instrumentation happening then I'd be hesitant to mess too much with the original tone, but I guess careful exaggeration of the tone can add flavour. Good example would be in hybrid orchestration or those monster ostinatos with big hybrid percussion.
@@gowoke_gobroke it's definitely not the Abbey Road sound if you've made significant EQ moves and you're critiquing the voices in solo or in a minimalistic arrangement. I'd say in general, sometimes EQ will be required for a better balance between instruments so it doesn't get all washy and muddy due to the combined room tones from separate VST's. Imo adding a fat boost in the lows of a string section shows you've chosen the wrong source in the first place, or you need to find something else like the sine wave to fatten it up neatly.
even recordings for films are sometimes adjusted with eq. it's all creative decisions in service of the particular end goal. also, sometimes you might actively *not* want it to sound exactly like abbey road
There is no perfect. There's only what moves the listener. If it sounds good, it is good.
hey, I am hrishikesh honawad from India
I'm 14 year old I wanted to talk to you sir on message or meeting I have just started on with film scoring and orchestration
I wanted to learn how orchestrate from a piano
wanted help from you sir
wonderful video
loved it
hope you see my comment sir
thank you in advance
Beware...you will not own the Waves plugins, you buy and you will have to pay Waves everytime you upgrade your MacOs for a update to your plugins in order to work !