This is pure gold! Perfect timing to learn from the pros when I am mixing a new orchestra song made with BBC SO CORE :). Love it! Thank you so much! SonicScoop and SpitfireAudio masters!
This is great! I would love an live “Atmos” mixing session like this, handeling stems and mastering in 5.1 are challenging enough. I am seriously intrigued with atmos.
I'm mixing my first score for TV next week, and I found this video very helpful and insightful. I have one question though. You have so many different sends with reverbs (One for each stem I heard). How do you choose the reverb setting for each stem? Do you adjust two reverbs with different mechanichs/algorithms for one stem then copy it over to the next one, or do choose different settings for different instruments groups? It may be that I overheard some information about this, but I would like to know more on this matter. Brilliant work by the way. You two seem to have found a nice way of working together, and I enjoy your result. Best Regards, Andreas.
I use Nuendo and wouldn't have it any other way. But if you believe Nuendo has taken the film mixing throne from ProTools, I'm afraid you are mistaken! Video games perhaps, but film mixing? Protools is king whether we like it or not. And I HATE Avid.
In general what should the relationship between front speakers and back speakers balance wise? I know it’s subjective but let’s say on a string section?
Who else is here because they clicked on the video on youtube, because of autoplay or they saw a link or an embedded video on a third party website and then scrolled down to the comments, either on a pc, laptop or mobile device 🙋
If your mixing for film, why are you not mixing while also watching the film synced to it? You talked about feel, but then don't utilize the visuals that tell you how to feel. Seems like you're missing out in getting things even more accurate to how they could feel, or am i just thinking too much?
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.
You mean Hans Zimmer? Yeah and Uber drivers are not Taxi drivers. Web shops are not shops, UA-camrs are not teachers and a movie shot on video is not a real movie right?!
![Mixing Masterclass: Film Score Mixing & Composing with Tom Holkenborg (aka Junkie XL) [MixCon 2021]](http://i.ytimg.com/vi/LzjIfv141IU/mqdefault.jpg)
![Mixing Masterclass: Film Score Mixing & Composing with Tom Holkenborg (aka Junkie XL) [MixCon 2021]](/img/tr.png)
Thank you to all especially Jake Jackson, Christian Henson it was quite illuminating.
just rewatching this and didnt realize Jake mixed on the Ori games! That score and the gameplay mixing is so dope! Well done man!
Jake Jackson was just the tracking engineer at air studios where it was recorded I believe.
Amazing!
I know when I heard he mixed the Ori games I came to the perfect mixing video!
absolutely lovely chat. I enjoyed listening to you two guys laying down your workflow. thanks!
The advice to tag-team with your engineer is just brilliant.
This is pure gold! Perfect timing to learn from the pros when I am mixing a new orchestra song made with BBC SO CORE :). Love it!
Thank you so much! SonicScoop and SpitfireAudio masters!
This is great! I would love an live “Atmos” mixing session like this, handeling stems and mastering in 5.1 are challenging enough. I am seriously intrigued with atmos.
spitfire selling their products
and not responding to questions.
thanks a lot guys for this awesome masterclass!
Both of these guys are great! Can't wait. I have Jake Jackson's orchestral mixing class from Thinkspace Education. It's fantastic.
That's an incredible score, holy smoke.
This is cool! Please keep making professional filmscore mixing content/tutorials and masterclasses ❤️
Thank you so much!
This was really insightful and useful information. Thank you.
I'm mixing my first score for TV next week, and I found this video very helpful and insightful. I have one question though. You have so many different sends with reverbs (One for each stem I heard). How do you choose the reverb setting for each stem? Do you adjust two reverbs with different mechanichs/algorithms for one stem then copy it over to the next one, or do choose different settings for different instruments groups? It may be that I overheard some information about this, but I would like to know more on this matter. Brilliant work by the way. You two seem to have found a nice way of working together, and I enjoy your result.
Best Regards, Andreas.
I loooove SpitFire 🥳🥳🥳🥳🥳
55:26 so important. Great tip. Because those seconds could add up to hours wasted or lost!
When it comes down to film and video games scores Cubase and Nuendo hold the title better than slow tools.
I use Nuendo and wouldn't have it any other way. But if you believe Nuendo has taken the film mixing throne from ProTools, I'm afraid you are mistaken!
Video games perhaps, but film mixing? Protools is king whether we like it or not. And I HATE Avid.
@@HollywoodVirtualAudio honestly i think pro tools is pushed way too much. avid are like the apple of the music industry, no offence to apple lol
I’m only half way through the video, and I’ve already found it extremely valuable. Thank you!
The music starts at 19:26
A really interesting session.
Great! Thank you!
awesome mixing
Was there a library used for the String Gliss (Slide down) ?
what size TV are you using as a monitor there? Would you go larger or smaller if you replaced it?
I have a question, intro music at the beginning of video is even in mono(through my phone) sounds very stereo,how to achieve this sound,anybody knows?
What's the song at the beginning called?
Why does the opening sound a lot like Medal Of Honor: Warfighter?
Which upcoming SpitfireAudio library?
This was probably recorded before Solstice came out.
which is that neve mixer?
In general what should the relationship between front speakers and back speakers balance wise? I know it’s subjective but let’s say on a string section?
I can't wait for this one!
Use 2 reverbs... Learnt something really valuable...
Didn’t know this was happening!
I wish I understood half of the English (not musical) slang! :)
No way! :D
WAY!
🤘🏽🤘🏽
Where's the centre speaker? 🤔
Where is the live chat session?
It’s on the upper right hand side of your screen. You should be able to expand it. Hope that helps!
Who else is here because they clicked on the video on youtube, because of autoplay or they saw a link or an embedded video on a third party website and then scrolled down to the comments, either on a pc, laptop or mobile device 🙋
i want the display, give me this display pls, I can pay with a retrogade fugue a 8 voci
wich is the model?
what are you on about??
Snake oil!
poooow
If your mixing for film, why are you not mixing while also watching the film synced to it? You talked about feel, but then don't utilize the visuals that tell you how to feel. Seems like you're missing out in getting things even more accurate to how they could feel, or am i just thinking too much?
The first 19 minutes: bla bla bla!
Mixing process is a sound procedure. So we need to hear the music first, and then hear explanation.
This comment: bla bla bla!
Offer constructive criticism first and then moan in a self-entitled way in the privacy of your own head.
thx for saving me 19 minutes
Love this but the British accent is so oppressive to me ....
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.
You sound like an arrogant person.
y r u geh
You mean Hans Zimmer? Yeah and Uber drivers are not Taxi drivers. Web shops are not shops, UA-camrs are not teachers and a movie shot on video is not a real movie right?!
@@homeofcreation Stay in your lane, cameraman.