It’s time to talk about reverbs in detail. We briefly mentioned these wonderful tools when we analysed the mixing template. Reverbs can do a lot for your mixes, and if you produce orchestral music they really are super important. There are two main types of reverb and they usually serve different purposes although we can mix them up and ultimately we can be very creative when using them. It’s also worth mentioning that whilst some plug ins out there (or hardware) can be very expensive, you can achieve great results with inexpensive or free reverbs, so if you are budgeting for a good reverb and are unsure which one you should get you can definitely get a lot done with your DAW’s built in ones in the meantime, or check some of the free ones. Let’s find out what the main types of reverb are…Continue reading “Types of Reverb”
This is going to stir up some controversy, but you can bet that this is not the usual guide on “how to eq”, this article is different.
I won’t be saying “carve out some 6KHz from your strings, cut 250Hz from the snare” and stuff like that. I won’t, not because it’s wrong but because this is never going to teach you how to eq: all those tips are details, snippets of information and even though they can be useful (in the right context) they leave aspiring mixers with all their doubts, second guessing themselves for days, weeks, months…Continue reading “The Dos and Don’ts of eq”
Yes, it is time to talk about how to mix sample based orchestral works (sometimes referred to as MIDI mock-ups). There is a lot of content about this everywhere, yet people seem to struggle finding something that is simple, easy to follow and that works, so this is it!
Most importantly, some libraries promise a good “wet” sound out of the box which is fair enough, but in reality you need to be able to treat the dry signal correctly because: a) some of the best samples out there are actually dry, b) if you’re blending samples from different companies they were recorded in different rooms, therefore their close mics are the minimum common denominator.
“Should I use LANDR or not?….” Replace LANDR with any other machine based mastering service and you’ll get one of the most commonly asked questions among music makers in 2020, especially home studio owners.
I wrote a lot about mixing lately, now it’s time to talk about mastering, what it is, and whether artificial intelligence is a legit tool when it comes to mastering your own mixes.
This is a broader article about mixing, I want to give you some context both for my mixing plan and my mixing template. After reading this you will understand the importance of being bold when making mixing choices whilst using references in order to maintain control.Continue reading “The Mixing System”
This is a very simple guide on how to structure a mix. Getting rid of the clutter is possible if you trust the process and keep it simple: all you have to do is follow these four simple steps each time, at least until you’re confident enough and you can hear what needs doing before you even pay close attention.
The guide below is not just for beginners: it’s for anyone who spends weeks mixing something that should be mixed in one day, i.e. most tracks.Continue reading “Mixing with a plan”
A template is an empty “model” project, ready to receive the tracks you want to import.
Digital Audio Workstations (DAWs) come with many templates and you can either customize them or create new ones from scratch. A good template will improve your workflow so let me show you how I make mine.Continue reading “How to build a Mixing Template”
After reading this article you will have a clear understanding of what stock music is, you will be able to browse stock music content confidently and find what you really need. I have produced stock music for years and I know how frustrating it can be to navigate a catalogue for hours, entering different keywords, listening to hundreds of tracks that sound all the same. Let me share with you a few tips on how you can make your search more productive.Continue reading “How to buy Stock Music”
A bespoke soundtrack is music that is made from scratch specifically for a client, based on the project and its requirements, as opposed to library music or stock music, where the soundtrack is selected from a catalogue of existing works.
If you are new to the process, ordering custom music might seem daunting at first and you might have questions such as: how long is it going to take? When can I hear my first demo? Is it going to be expensive? How is the budget calculated?
As a composer I answer these questions all day and I can use my experience to help you, se let’s explore together the different aspects of the process.