the way he used the reverbs at the end was extremely interesting - just to make a little room/space for the instrument with no obvious 'reverb' effect... very helpful technique, thanks!
I just looked through several orchestral mixing videos. I clicked off several of them because I found them too tiring to listen to and when I did concentrate I wasn't learning anything. Within 5 minutes, you got me hooked on the beauty of the sound you're making and the insight and knowledge you clearly have to offer. Thank you.
That reverb trick is magic. I have played a little with IR room simulators and already realised that you could do more than what we normally think of as reverb. Astounding!
Okay man, late to the party but that was amazing! One of the few mix vids I've seen where I could actually hear the difference and also could feel the mix adding to the musicality of the cue.
@@FreakieFan wtf is your problem? Sorry big man, I meant for him to elaborate on his comment. Life must not be going so well for you huh? I’m guessing you’re an older guy who never made it as a musician so you resort to projecting negativity onto random people in UA-cam comment sections. 😂 I’ve seen your other comments to people, get a life old timer.
Seems like a 6:30, he's bypassing a shared Aux reverb, not just the verb for the flute. I can definitely detect an overall drop in the volume in the instruments when he hits bypass. Still, it's amazing what a little reverb on the right thing can trick the ear to thinking there's more there.
I see Alan using certain plugins on tracks that I have found to not work on all Channels on say a quad or 5.1 buss. Puightech eq only effects stereo Channels for example.
I am a sound guy for a news tv station and I can tell you... boy, do I ever suck compared to this guy. What I do is vrey much different but I can't help feeling humble.
OMG I just finish watching a Dave Pensados Tutorial video on Vocals and is Amazing how he starts talking about the Reverb trick that this incredible gentlemen talks in this video and how he learned it from him , he says it " it Like Magic" and i have to go back and watch this video again ,My only question is how can i achieve this effect if i dont posses any UAD or Eventide Plugings please help!!!
@@dncviorel not really, not if you only plan on watching 2 videos. at 150$ a pop I'm better off asking for an hour of murphy or Myerson's time on skype.
I would argue that most modern media "composers" aren't actually composers at all. They fall more under the category of sound designers, experimentalists, and, dare I say, noodlers. If DAWs didn't exist, 95% of these people would be out of the business. DAWs allow people to "Frankenstein" things together as they play with their "digital Legos." There are things that become second nature to real musicians over the years that are simply foreign to the digital Lego people. For example, there is no possible way for someone who has just sat at a DAW most of their life to tell me that they are a better orchestrator than I am when I've been playing in numerous bands, orchestras, chamber ensembles, etc. since the 80s. So much has reached our subconscious, so we intuitively know what works, which combinations of instruments sound horrible in unison, general ranges of the instruments, and what actually works in the physical world. Some moron on UA-cam who is confused thinking that she's "Joan Williams" wrote one hour's worth of tremolo parts for the strings while playing with her digital Legos. At the scoring stage, they told her, "Look, we can't do this anymore." Ignorance like that could potentially result in serious injuries that could have lasting effects on musicians. There is no substitute for real-life experience. How can you claim to be a champion swimmer when you have never jumped into a pool? It's simply not possible. People are using DAWs as a crutch to find out what might work rather than simply hearing it in advance. Since I have perfect pitch, I can actively tell myself, "Imagine the Principal Oboist playing a legato passage in this range, in this specific character, etc." I can also hear particular soloists in my mind as well or imagine the CSO's brass from their golden era under Reiner. Yet people like me are blocked from the business because many of you DAW people are like bulldozers. You don't know what you don't know, so you assume that you are armed with actual skills and then go and somehow get your foot in the door shamelessly working your connections. Unfortunately most directors and producers know nothing about music, so if you are a good talker or someone with strong industry connections since Uncle Bob supplies light bulbs to a major lighting director, it's only a matter of time before you will get in the door and start working, even if it's a bunch of really small projects at first. The other major thing that's missing is the actual performance aspect. Dear God, if it's a big budget production where the digital Legos are transformed into parts, guess what? The live players end up sounding like digital Legos! It's a complete waste of money. Might as well install MIDI ports into the players' heads! And I have to laugh when a media composer counters by saying, "Well we have CC data, dude." Well that's just adding fuel to the fire because if you have never played an instrument at a very high level, then what the hell do you know about proper phrasing? The phrasing needs to be INTEGRATED! You can't just use a variety of CC data as a substitute. I've seen the CC data of some "big" LA composers and laughed my butt off because they just drew in whatever just to add some variety (excuse me, but....AHAHAHAHAHA). No, it doesn't work like that. A lot of the phrasing is already implied based on the melodic lines and harmonic movement. You can't arbitrarily go to your MIDI editor and draw in swells (well you can but it will just sound bad). All that tells real musicians is this: "I don't know what the hell I'm doing." Yet many of you working media "composers" act larger than life. If you are at some industry event and John Williams comes over and asks what you do, you should say, "I'm a professional barista," because the gap is so wide that it's beyond ridiculous. This goes for you as well, Hans.
Very interesting thoughts and comment... I always thought the same concerning "modern composer" that all uses the same samples from the best library in the market. It's really easy today to trick people and make yourself sound good when you just have to press some buttons... See, I use those tools too for fun but primarily I consider myself a pianist/instrumentalist Knowing and hearing that difference in the sound is indeed essential. Very true as well that the director that leads this industry ironically knows nothing about what it means to be a good musician today... So sad, everyone is just looking at the numbers/views and assume we'll they must be great since he's been climbing this invisible chaotic ladder of fame. But that's not how it works, I've been knowing astounding musician that will never get the recognition they deserved because of those people, the truth is those musician don't have the mindset for that, and maybe somehow this is good for them. Sometimes I just wish more people in this industry will know how to hear and recognize musical talent and devotion.
Ashraf El-ziftawi he wanted to bring them both together. It's a decent way of allowing the ear to be tricked into thinking that the source and the delay are one and the same. He's allowing the walls to become mesh, so that you don't get as much slap back, and just the right amount of pre-delay, so that when you compress the entire source and delay together it becomes a holistic sound rather than sound + compressed delay.
Guys, I've been trying to get a carrer in producing/sound engineering, but I could use some advice. Most people say there isnt a lot of colleges teaching this kind of skill (Keep it in mind that I am from Brazil) and even if there was, most aren't worth the time. So most people advice is to do something else, maybe eletrical engineering for the afinity, and learn it on your spare hours. Anyway, just posting this comment to start a discussion, I could use some opinions, what do you guys think?
Oh, and btw, my current plan is to get into acoustic engineering, even if I don't understand the field all that well, I think it has some afinity with the field aswell. I would prefer to avoid eletric engineering, since it sounds so tough and personally kind of boring
There will always be someone advising you to do something different. If it's something you want then go for it and don't look back. Just work really really really hard.
Get a carrer? You mean you want to get employed?? If that is the case, good luck, otherwise best thing is to work by yourself. You may crawl trough the shit at first, but if you want to learn and you are good at what you are doing, it will get to somewhere someday. And yeah, the whole collage you need is to watch these men on youtube and practice.
Also don't get discouraged if in just a year you're still not that great at it. It took me 2 years for my ears to understand more complex things. It just takes time, practice and more time and practice. There's so much good stuff out there on UA-cam and google. Use these two things like they are your college courses. I will tell you though it's a very tough world and you have to be 110% committed to it if you want a longterm career of some sort.
You're an idiot for thinking that this was a step-by-step tutorial in the first place. In nowhere in the video does he ever say that "this is how you should absolutely do this and that." He's just showing us how he goes about mixing some orchestral instruments...
the way he used the reverbs at the end was extremely interesting - just to make a little room/space for the instrument with no obvious 'reverb' effect... very helpful technique, thanks!
I just looked through several orchestral mixing videos. I clicked off several of them because I found them too tiring to listen to and when I did concentrate I wasn't learning anything. Within 5 minutes, you got me hooked on the beauty of the sound you're making and the insight and knowledge you clearly have to offer. Thank you.
That reverb trick is magic. I have played a little with IR room simulators and already realised that you could do more than what we normally think of as reverb. Astounding!
Okay man, late to the party but that was amazing! One of the few mix vids I've seen where I could actually hear the difference and also could feel the mix adding to the musicality of the cue.
The master at work... great stuff, super useful and insightful
Man what a guy, you can tell he loves what he's doing, awesome
Shame I worked at remote control some years ago and can’t say the same for his personality!
@@joegraves165 What do you mean?
@@Hash-vo1hi
What do you think he means? It's pretty obvious, isn't it?
@@FreakieFan wtf is your problem? Sorry big man, I meant for him to elaborate on his comment. Life must not be going so well for you huh? I’m guessing you’re an older guy who never made it as a musician so you resort to projecting negativity onto random people in UA-cam comment sections. 😂 I’ve seen your other comments to people, get a life old timer.
@@Hash-vo1hi
Says the guy writing a paragraph of insults in response to an innocent, 2-sentence reply.
Seems like a 6:30, he's bypassing a shared Aux reverb, not just the verb for the flute. I can definitely detect an overall drop in the volume in the instruments when he hits bypass.
Still, it's amazing what a little reverb on the right thing can trick the ear to thinking there's more there.
You've got a great piece of music to start with.
Amazing video!! Alan is just a genius!
Lovely, very relevent to my work right now
make a monthly subscription, please!
Saint Laurent ++++
Yes please!
Fantastic! Thanks for sharing Alan.
another fantastic video thank you guys for making this available
i'd like the trick that you add depth to the Flute, i learned new thing, Thank you!
Incrível como poucos ajustes, com os plugins certos fazem muita diferença.
vdd ferramentas certas e experiencia fazem toda a diferença numa mix
Alan, how many mics are typically recorded for a film score these days, and how many of those get used? Thanks.
I see Alan using certain plugins on tracks that I have found to not work on all Channels on say a quad or 5.1 buss. Puightech eq only effects stereo Channels for example.
White Meyerson..
When I started mixing I was yooouuuuuuuuuung
I am a sound guy for a news tv station and I can tell you... boy, do I ever suck compared to this guy. What I do is vrey much different but I can't help feeling humble.
Alan Meyerson... LEGEND!!!!!
Curious why the delay and reverb are not going through an aux and bus? I didn't see him adjust the mix in the delay especially...
Priceless!
OMG I just finish watching a Dave Pensados Tutorial video on Vocals and is Amazing how he starts talking about the Reverb trick that this incredible gentlemen talks in this video and how he learned it from him , he says it " it Like Magic" and i have to go back and watch this video again ,My only question is how can i achieve this effect if i dont posses any UAD or Eventide Plugings please help!!!
You could probably take a stock verb and turn the room size/decay time down. Then mix the dry/wet to taste.
Thank you for the great tutorial
Goosebumps
What’s the name of this track from The Man In The High Castle
3:40 i would say it ads more body, not warm? Warm for me is a rich middle range, like in Jethro Tullls Aqualung and Thick as A Brick
Amazing , thank you for this
a good lesson!
Comment l'utiliser
good stuff!
it's kind of funny to have a $150k+ avid s6 and then he's mainly just clicking around the screen and using a mouse anyway lol
Monthly Subscription, PLEASE!!!!!!! I would buy.
Where can I find the full video ? .. no links in the description ..
You can find this 1h30 video series on the MWTM website along with more than 30 other long series et 500+ interviews! goo.gl/5zC3Df
It's available on their website if you are a member of the outrageously high priced yearly program
Mix With The Masters, it's not new it's from couple of months ago.
$300/1 year could be a great investment. You have acccess to all their videos. It's a very good deal for someone serious in learning how to mix.
@@dncviorel not really, not if you only plan on watching 2 videos.
at 150$ a pop I'm better off asking for an hour of murphy or Myerson's time on skype.
wow and i thought i new tricks Dammm!! that sound DAM Good
awesome WOOOOW
I would argue that most modern media "composers" aren't actually composers at all. They fall more under the category of sound designers, experimentalists, and, dare I say, noodlers. If DAWs didn't exist, 95% of these people would be out of the business. DAWs allow people to "Frankenstein" things together as they play with their "digital Legos." There are things that become second nature to real musicians over the years that are simply foreign to the digital Lego people. For example, there is no possible way for someone who has just sat at a DAW most of their life to tell me that they are a better orchestrator than I am when I've been playing in numerous bands, orchestras, chamber ensembles, etc. since the 80s. So much has reached our subconscious, so we intuitively know what works, which combinations of instruments sound horrible in unison, general ranges of the instruments, and what actually works in the physical world. Some moron on UA-cam who is confused thinking that she's "Joan Williams" wrote one hour's worth of tremolo parts for the strings while playing with her digital Legos. At the scoring stage, they told her, "Look, we can't do this anymore." Ignorance like that could potentially result in serious injuries that could have lasting effects on musicians. There is no substitute for real-life experience. How can you claim to be a champion swimmer when you have never jumped into a pool? It's simply not possible. People are using DAWs as a crutch to find out what might work rather than simply hearing it in advance. Since I have perfect pitch, I can actively tell myself, "Imagine the Principal Oboist playing a legato passage in this range, in this specific character, etc." I can also hear particular soloists in my mind as well or imagine the CSO's brass from their golden era under Reiner. Yet people like me are blocked from the business because many of you DAW people are like bulldozers. You don't know what you don't know, so you assume that you are armed with actual skills and then go and somehow get your foot in the door shamelessly working your connections. Unfortunately most directors and producers know nothing about music, so if you are a good talker or someone with strong industry connections since Uncle Bob supplies light bulbs to a major lighting director, it's only a matter of time before you will get in the door and start working, even if it's a bunch of really small projects at first.
The other major thing that's missing is the actual performance aspect. Dear God, if it's a big budget production where the digital Legos are transformed into parts, guess what? The live players end up sounding like digital Legos! It's a complete waste of money. Might as well install MIDI ports into the players' heads! And I have to laugh when a media composer counters by saying, "Well we have CC data, dude." Well that's just adding fuel to the fire because if you have never played an instrument at a very high level, then what the hell do you know about proper phrasing? The phrasing needs to be INTEGRATED! You can't just use a variety of CC data as a substitute. I've seen the CC data of some "big" LA composers and laughed my butt off because they just drew in whatever just to add some variety (excuse me, but....AHAHAHAHAHA). No, it doesn't work like that. A lot of the phrasing is already implied based on the melodic lines and harmonic movement. You can't arbitrarily go to your MIDI editor and draw in swells (well you can but it will just sound bad). All that tells real musicians is this: "I don't know what the hell I'm doing." Yet many of you working media "composers" act larger than life. If you are at some industry event and John Williams comes over and asks what you do, you should say, "I'm a professional barista," because the gap is so wide that it's beyond ridiculous. This goes for you as well, Hans.
Very interesting thoughts and comment...
I always thought the same concerning "modern composer" that all uses the same samples from the best library in the market.
It's really easy today to trick people and make yourself sound good when you just have to press some buttons...
See, I use those tools too for fun but primarily I consider myself a pianist/instrumentalist
Knowing and hearing that difference in the sound is indeed essential.
Very true as well that the director that leads this industry ironically knows nothing about what it means to be a good musician today...
So sad, everyone is just looking at the numbers/views and assume we'll they must be great since he's been climbing this invisible chaotic ladder of fame.
But that's not how it works,
I've been knowing astounding musician that will never get the recognition they deserved because of those people, the truth is those musician don't have the mindset for that, and maybe somehow this is good for them.
Sometimes I just wish more people in this industry will know how to hear and recognize musical talent and devotion.
That was good.
Man in the high castle?
mixwiththemasters.com/dm9 yes
now that's how you treat a flute
Awesome
nice
👌👌👌👌👌
Feel free to mix my tracks if you're ever bored Alan haha 😁
compression after the delay..ummm
I don't get what's so bad about that?
Ashraf El-ziftawi he wanted to bring them both together. It's a decent way of allowing the ear to be tricked into thinking that the source and the delay are one and the same.
He's allowing the walls to become mesh, so that you don't get as much slap back, and just the right amount of pre-delay, so that when you compress the entire source and delay together it becomes a holistic sound rather than sound + compressed delay.
Guys, I've been trying to get a carrer in producing/sound engineering, but I could use some advice. Most people say there isnt a lot of colleges teaching this kind of skill (Keep it in mind that I am from Brazil) and even if there was, most aren't worth the time. So most people advice is to do something else, maybe eletrical engineering for the afinity, and learn it on your spare hours. Anyway, just posting this comment to start a discussion, I could use some opinions, what do you guys think?
Oh, and btw, my current plan is to get into acoustic engineering, even if I don't understand the field all that well, I think it has some afinity with the field aswell. I would prefer to avoid eletric engineering, since it sounds so tough and personally kind of boring
There will always be someone advising you to do something different. If it's something you want then go for it and don't look back. Just work really really really hard.
Get a carrer? You mean you want to get employed?? If that is the case, good luck, otherwise best thing is to work by yourself. You may crawl trough the shit at first, but if you want to learn and you are good at what you are doing, it will get to somewhere someday. And yeah, the whole collage you need is to watch these men on youtube and practice.
Also don't get discouraged if in just a year you're still not that great at it. It took me 2 years for my ears to understand more complex things. It just takes time, practice and more time and practice. There's so much good stuff out there on UA-cam and google. Use these two things like they are your college courses. I will tell you though it's a very tough world and you have to be 110% committed to it if you want a longterm career of some sort.
get some studio monitors and a DAW and practice every day.
Where was the score mixing? Just putting reverb on a flute? Whack.
😂😂❤❤
Putz
This is cringe... How did he scam himself into this business
This is idiotic. Every mix is different and will have different approach. Making this kind of videos is same as making videos how to cut the tree.
We are not here to copy the man just learn the logic behind.
You're an idiot for thinking that this was a step-by-step tutorial in the first place. In nowhere in the video does he ever say that "this is how you should absolutely do this and that." He's just showing us how he goes about mixing some orchestral instruments...
This is literally the most idiotic response I've ever seen on a mixing video. Please do me a favor and never make music. You sound toxic as hell