Mixing Tips for Cinematic Orchestral Music with Brian Losch
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- Опубліковано 28 вер 2024
- This is just a small part of our in-depth mixing course, Faders Up II: Advanced Mix Techniques. Sign up today to learn from engineers like Brian Losch, Kenta Yonesaka, Leon Kelly, Tim Leitner, and more! soundfly.com/c...
In this video, Grammy-winning recording engineer Brian Losch demonstrates how he approaches setting up to mix a cinematic orchestral piece, starting by analyzing reference tracks and the artist's rough mix, getting organized in the DAW, and then moving on to leveling and compression.
In the course, available through Soundfly's low-cost subscription, Brian goes into much more detail on time correction, pitch correction, approaching different sections of the orchestra, adding harmonic excitement, blending samples and recorded instruments, and beyond.
And if you're feeling lost in the mixing jargon in this video, check out our beginner mixing course, Faders Up I: Modern Mix Techniques: soundfly.com/c...
***What I notice the most about movie soundtracks, -> is the great spatial quality, the depth and position of all the instruments. Especially with string sections, when they sound like I’m standing on the directors podium, in a great hall. ->Those are the mastering skills I’m most interested in.
I totally agree with your compressing the lows separately from the hi’s. It took a while in the 70’s for arena sound crews to learn not to compress the entire main signal, and to break it up into at least 2 or 3 bands.
Haha ironically I’m great at getting the Epic Cinematic spatial quality and using the Dolby Atmos 3D rendering and creating IR signals to create dimensional reverb etc etc that’s easy for me.
I call it Zimmerizing a piece.
My problem as a Williamsesque composer is keeping clarity and managing dynamics when you have a FULL symphonic orchestra plus a choir.
Then it becomes this nightmare of reduce this and you have to increase this which means …. And so on forever.
It was SO much easier when I had an orchestra to work with because YOU CAN TALK to them and also it’s obvious where “offending frequencies” come from when your in a conductor’s position.
But with headphones and with 100 tracks you want me to hunt down the 1db ringing sound in bars 48-55? And 99 other things?
I need help mastering large symphonic music.
@@drew6524i recorded me doing this live. It is 4 hrs total so i didn’t upload yet
Awesome brother💙
Very helpful! Have to compose and mix a score bc they don’t have a budget for mixing engineer 😳
Great video. Perhaps the telling thing here with Brian is that mixing a film is not like a record at all. You really just have to grind your way through, make decisions quickly and always put the film first. Many film composers over score to provide options. A good film music mixer not only knows when to cut with an EQ or apply clip gain for added punch, they sometimes cut whole sections if it better serves the story being told on the screen. Film mixers are a rare breed with a valuable set of skills. When their work goes unnoticed, and we become immersed in and moved by the story, they have done their best work.
Awesome video 👍🏾 Big ups for describing EVERYTHING IN DETAIL! 💯🇯🇲🇧🇷
How much REVERB or EFFECTS would yuh use on a PERSON WITH A NATURAL SHAKESPERIAN TRAINED THEATRICAL 🎭 POETIC VOICE? Mi music style is CINEMATIC STORYTELLING and mi acting in PHILLY told mi YOUR VOICE IS DI FIRST INSTRUMENT...All other instruments accompany it. He told mi that because mi voice is naturally strong. A lot of artists voice these days in HIP HOP/RAP their VOICES ARE DO GIMMICKY and so much MUSIC IS PLACED AROUND THEM TO DRIVE DI SONG...YOUR THOUGHTS? 💭
💯🇯🇲🇧🇷
Protocols looks so damn tricky like what the heck
great video, would love to see more videos like this!
Yeah
I loved your video. Thank you for sharing.
Please make more.
How can I get a reference track/mix into my DAW? 🙏🏼 🙏🏼
Awesome man!
Gems. Thanks!
Great video yo
Thank you so much.
What's this video ? I didn't learn anything :(
That's weird. I'm pretty sure this video touched on:
(1) have a direction and don't mix blindly. bring in a reference track.
(2) leveling is priority. not fancy plug-ins. staging the levels of a mix is critical. focus there first and rest your ears once in a while or you'll waste time.
(3) when you DO decide to EQ tracks, CUT frequencies more than you boost frequencies. You will get better results.
(4) if you decide to boost/automate/feature a specific instrument track at a specific part of the song, remember to bring it BACK down to its original level to maintain your mix.
(5) Clip gain more than you rely on a compressor. Better results.
(*) I do think he should have put an emphasis on making sure when you A/B test things that the levels should be the same or you will trick yourself into thinking something is better just because it is louder.
I genuinely hope this helps people.
What DAW is being used?
Looks like Pro Tools
Pro Tools