Fine Tuning & EQing Orchestra
Lesson 1 from: GearGods Presents: Mastering Metal Mixing: Finalizing Your MixEyal Levi
Fine Tuning & EQing Orchestra
Lesson 1 from: GearGods Presents: Mastering Metal Mixing: Finalizing Your MixEyal Levi
Lessons
Fine Tuning & EQing Orchestra
12:38 2Assemble the Chariots Mix Challenges
15:24 3Tweaking Guitars & Orchestra
34:41 4Monuments Mix Challenges and Vocal Chain
19:14 5Vocal Mixing, Phase, and Polarity
29:14 6Andrew Wade Interview Part 1
22:30 7Andrew Wade Interview Part 2
33:19 8Common Mixing Problems and Tricks Part 1
37:54Lesson Info
Fine Tuning & EQing Orchestra
And I'll let you guys know howto contact me because I know you guys want to chat you want to look at pictures of my dog and my studio and find me on instagram or you can go to facebook dot com slash on stop of ok and for unstoppable well killing machine tio just get recording advice or you could just bother me on tumbler if you want tio get more recording advice uh hit me up whenever I'm always happy to talk about recording and, uh, sign up for my mailing list, you will get three mixing videos that put together so screen shot that and leave it up for three to one and then let's talk about mixed walk throughs, so we were talking about mixing orchestral elements with metal yesterday and just kind of wanted to finish that up. Uh, I'll play the track that we were checking out again just for everyone just get everyone refreshed, I guess, and then we'll finish this up and keep going. Here it is, let's get back into it. So one of the main things going to recap some of this stuff on the main t...
hings that we talked about was how when you're given an orchestra to work with in a metal song, when the main things you've got to do is filter out everything that doesn't need to be in the sound and, uh everything that will get in the way of the metal band because you've got two full frequency uh basically two full frequency types of music full range types of music coming together tio make a mess if you don't control it so is for quick example you know we're going to deal with those strings here's what they originally sounded like I don't know for those of you in the room all right, that means we'll turn up a little um uh well no one said yes um all rights anyways, you listen to that without the q added it's um kind of tubby I guess that's sort of put it it's ah it's got enough it's got enough low end in it to where it would definitely clash um no or maybe not classroom money up a metal mix so so it sounds like with the and that's the uh that's the basic idea right there is, uh, remove what you don't need and in some cases boost the hell out of what makes the sound unique in this particular case the orchestra's that were given to me were very good uh I don't really know what he was using which virtual orchestra he was using but the sounds are already good from the get go um lots of times you don't have the luxury of that when you talk about that a little bit um but there's a lot less that you have to do obviously the sounds are going to begin with but as you can see or we'll see from here all the processing really is on these tracks is just to meet you it's nothing special if the sounds are good, you don't have to do too much crazy stuff use that to clean it up you find an example of of something to clean off just to recap again okay, so we have this, uh, thing this is where we stopped yesterday in term of the creepy noise. All right, so check out how the creepy noise sounded before it was cute. Oh, if you have that's, why itself in a movie and there's a bunch of stuff going on during the scene and that's on ly thing you're hearing maybe that's not so bad going of oh band playing a whole orchestra playing it's too much so I neutered it is you can see right here cut out all the low end and boosted some highs and actually you listen to it like that in some ways it actually sounds cooler anyways as basically the approach for any of this kind of stuff as it pertains to fitting it into a metal song let's check this out we got these I guess you could call them the horror sounds and uh I realize that that's happening underneath but it does kind of give a bit of a vibe to the whole song and the more you know that that's in there then where you realize that part of the reason that the song sounds cool is all these little things, but if again, if I hadn't basically neutered the low end e it's too much is not gonna work it too much going on when you have a raging metal band going on at the same time, so basic rule of thumb is get rid of as much low end as you can get away with getting rid of and then, like we said yesterday, look with those with the war drum, which I would play you guys one more time is then also, if something sounds a little funny because fake instruments do sound funny sometimes is just try to make them sound cool, like, for instance, with this, this is what it sounded like before cardboard drum supposed to without that hardware drones stuff just don't sound is powerful, so yeah d cardboard them. And if you have any questions about this, I just wanted to kind of recap before moving on the questions in the chat room or here in the room about any of this orchestral stuff now mind you, as it pertains to this was these air well done tracks? I do have a question yes, sir, so in that intro part I notice it all the orchestral stuff still does kind of have some low ends kind of some balls still and you can you can hear still um how is it different from when uh the injury goes toe when the rest of music comes in? Do you cut more out then or do you we absolutely it I mean it's in the intro uh it's not competing with a kick drum and a bass guitar and you just automated or do you just process it differently like different track either or it just depends like you notice some of these tracks on ly come in after the intro with some of them go continuously so yeah you you would automate it and there are tracks that you don't see here that I deleted because they were like I I will go in and delete people stuff if there's too much but I will say this on that note it's good that you brought this up anybody ever seen a band live where they had this really epic intro play and then the van starts playing sounds tiny uh you gotto because I mean, I know everyone has experienced that uh you need to be careful to not let that happen if you're going to keep a lot of low and in the intro you don't want tio you don't wanna bump people out when the song starts so don't go too crazy with the low end if you were about to ask something or it was just, uh handing off the microphone of the couch it happens it's a good place for it you see, if there's uh anything else here that I think would be cool uh we talked about the chick voice yesterday so I think, uh I think we're good with this one. Most of the chat room is any more questions about that. There is one question from mark zero when you mix an orchestra on top of the medal mixed you pan the orchestra like a real one okay, so so do you try to create the actual yeah orchestral space as if you were well I'm going in the next song uh going to get into that some more causes in the only or custer one but what I will say is since this is well done uh this all came in stereotype racks as you can see and they already work there were already panned in their own respective way when they arrived to me so there was no need to do that. But yes if if the tracks aren't already panned I will pan them out but not necessarily the way they would be with an orchestra because that's not that's not always going to be applicable to a metal mix. You know, just because violins are typically on the the left doesn't mean that that's, what's going to sound right. Uh, you have to take it in terms of what the lead instrument is and mix it like that. But, yes, you would be doing some panning, actually, a lot of panning. Otherwise, it would be a mess. But a lot of the good, softer instruments will already have some sort of panning built in to the sounds like I know. At least east west does that.
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