How to Write Epic Percussion - Damage, Artifact Reanimate, 8Dio Taikos, Spitfire Percussion, DoW
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- Опубліковано 27 вер 2024
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=== IN THIS VIDEO ===
0:10 Epic Percussion Bed Playback
1:13 Sonic elements that I need to be able to control easily/quickly
2:02 Stereo Panning
2:29 HP Filter
2:47 Room Control
3:33 Why do you set up these in Kontakt (and not in Cubase)?
6:17 Coming up with the idea (and creating the sketch)
7:30 Orchestrating the sketch (enhancing process)
8:47 Types of Instruments/Sounds
9:17 Low Sub Boom
9:45 Taikos
10:22 Toms
11:26 Rims
12:11 Snares
12:27 Kicks and Punches
13:20 Big Wet Hits
14:16 Deconstructing this percussion bed
=== SUMMARY OF THE VIDEO ===
📍 Sonic elements that I need to be able to control easily/quickly
- Panning position (stereo paneer)
- Width (show image analyzer)
- Filter Control
- Room Control
📍 Coming up with the idea (how to)
1) Hear it in your head
2) Sing it
3) Sketch it
📍 Once you’ve sketched out the basic rhythm → enhancing process
1) Identify the “important parts”, the building blocks (motives, accents, etc)
2) Enhance those. The goal is for them to gain clarity (not to add more and more layers that compete with the main elements)
📍 Types of Instruments/Sounds (Useful Elements that You May Often Need)
🥁 Low Sub Boom (keep it as clean as possible, no reverb)
Omnisphere boomers, Cinesamples Drums of War 1 (Sub Boom patch), etc
🥁 Taikos type of sound (for energy) (a bit of room)
8Dio, Spitfire
🥁 Low and ensemble cinematic toms (for energy) (a bit of room)
Heaviocity Damage (Armageddon), 8Dio Epic Toms
🥁 Rims (brightness and opening the sound) (a bit of room)
Heaviocity Damage (Armageddon),
🥁 Snares (definition) (a bit of room)
Spitfire Percussion
🥁 Kicks (or sub Kicks) and Punches (for an enhanced “trailer” sound). Kicks will sound cleaner and Punches will have more aggression
Audio Imperia Artifact Reanimate, etc
🥁 Big wet hits! (timpani hits, toms ensemble, etc)
Lots of reverb.
Avoid ostinatos w/ these.
Helps connecting sections
They add depth
Don’t overuse it, or it’ll create muddiness because of conflicting decays
📍 TIPS AND TRICKS
How to record: Record a long bit. Identify the great performance. Repeat those.
Ensembles patches are useful!
Don't forget about soft hits!
Sub Kick for punch
Distorted perc for modern sound
📍 Compose percussion as if you were arranging/orchestrating for orchestra
- Connectors
- Enhanced w Dynamics (yes, dynamics! :)
- Also, use distortion or filter as “dynamic” or “modulation”
Hope you like the video and thanks for watching!
Want more? Check out our Free 1-Hour Training "My 5 Tips to Composing, Producing, and Mixing Great Sounding Orchestral Music:
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It’s a treasure to learn from you and is priceless the passion you put in your explanations to make them clear. Thanks a lot!!
Barely started watching and already hit like on this video. I'm saving up for the Full Time Composer course.
Good choice excellent instructor
Amazing video! everything very well explained! i'm thinking on purchasing the frames and toms of 8dio, sounds very nice!
Very useful video with lots of imaginative ideas. Thanks.
Very informative video, Marc! Thanks for sharing
I love your videos Marc. I like the way you explain things. I`m saving money to buy your course Orchestration from sketch to full orchestra. Thakyou for sharing your knowledge.
Thank you, Willian! I appreciate that very much. It means a lot. But half of this video's "success" (if you found it useful) is Miquel's work... who edited it.
And regarding the Orchestration course... it's no "my" course 😜 It's a team effort. I wouldn't be able to do all this all by myself!
And also... Cinematic Composing is possible thanks to people like YOU who put your trust in us in the first place! 👍
Thx again and have a great weekend!
@@CinematicComposing thank you, and congratulations to all team. Have a great weekend you too.
Thanks for such an excellent video, with so many tips and so much advice. I love your enthusiasm, which is vey infectious.
Fantastic video! Thank you for the knowledge you share!
My favorite teacher, hello Sir!
Absolutely love this videos. Make more please!
I Love Marc 😍
Nice
So very helpful, thank you.
Great video Marc! Thank you!
It is not totally clear how you access the "four controls" within Kontakt. Can you explain further?
unfortunately, the question remained unanswered as I thought
Positionning your instruments left and right is fine but how do you spatialize them depth-wise ?
im enjoying your channel, but im also producing on a budget and these libraries are expensive. do you have any videos on creating cinematic percussion sounds using sound design techniques or field recordings?
Hey there! While I don’t have an answer for you about creating cinematic percussion sounds using sound design techniques of field recordings, if you would like to start with cinematic percussion and are on a budget, I’d suggest getting Spitfire Originals: Cinematic Percussion. It’s under 30€ and, if used with good writing, can really handle many of your needs. For some extra oomph, I’d also suggest adding Orchestral Tools’ “Dagu” and to layer the two (Dagu is 79€), but you can get away with just the first.
Great video.. I have a question.. two actually: 1) What template do you use for your motion graphics and titles, if any, or do you create them on your own; 2) when you are switching between the views (full shot of you vs. full shot of your screen) are you doing that in real time with a switcher or do you manually do that after you've filmed everyhing.? Great stuff! just curious about a few of your techniques
Titles: TypoSnap - videohive.net/item/typosnap-after-effects-and-premiere-pro/25501855
Switching views: when I'm teaching live I use OBS, I configure a set of view and I switch w/ Stream Deck. For YT y record the two cameras and screen separately and it gets edited later on
Hope this helps! Thanks for watching!!
How is he able to control with the same knob the High pass filter, and also adding Highs !
Nice video Marc ! It reminds me of my own analysis of "Deep Percussion Beds", grooves from "Stylus RMX" and "Drums Of War", that I did years ago when I first purchased those plugs :-) You are going much further in your presentation, by also including non-orchestral sounds to enchance final sonic effect. Excellent point, because those serve as an integral part of composition, instead being just effects. I love your down-to-the-point explanations, and energy. My only question would be : what would be the way to use some of those elements in real-life orchestral performance ? I guess one percussionist would need to bring a laptop and MIDI triggering pads, Right ? Would "MainStage" import those elements, or one would need an actual Kontakt loaded with particular samples, and map everything out ? I have some compositions, that I would love to have our local orchestra perform INCLUDING non-orchestral sounds. What's the typical way you guys do in L.A. to achieve this ? Just curious... Cheers !
normally we bring it as pre-records in the scoring stage. It's included in the Pro Tools session that usually gets sent one day before the recording. But I've also seen composers bringing their own rig time synched with the Pro Tools rig (Alan Silvestri has done that some times). The problem with that is that if you rig crashes... it's the most expensive computer reboot ever! :p
@@CinematicComposing Thanks for an insight about film scoring stage. I would certainly bring those tracks pre-recorded, and sync live orchestra (or sections) to the session's tempo map (click). Jeezz... Rebooting would cost a fortune, plus 96 musicians (or more) , conductor, techs and crew waiting in the studio ($$$$)...
@@CinematicComposing sir you are explanation was superb ua-cam.com/video/lQQZFz2kF84/v-deo.htmlfeature=shared but do you know about names of drums used in that movie from 1:40:29 to 1:40:41 someone said it was a sort of orchestral percussion how those sounds are produced?
How do you check or control or process your recording in order to be sure that your drums will not distort say in a youtube video or a radio spot or the car speakers?? I'm just a beginner.
I didn’t think people still used Vienna anymore. Modern computers are powerful enough to host the samples and perform them on the same computer. Why complicate things?
I love the video its great
What control surface do you use?
Evoultion Uc33 usually but in the video Marc was using a Behringer BCF2000
Excelente video! Very helpful! Thanks
Sound is somehow lower than in other videos... Please check
Hi Marc, very useful, but...you should be more calm when you're talking. Too fast and sometimes it's difficult to follow, even with subtitles!
Chapters man, chapters...
Too much talking and no music played.
Thank you for that!! please use less de-noiserr id rather hear some fan noise than the artifacts on your voice
thank you for the great helpful tutorial .keep up and well done
excelente, como siempre. Thanks Marc
Thank you for this great helpful tutorial and your hard work !
very nice great
wow, that template is really huge!