The Name Game Pro Tip:
  1. Didja accidentally blow through the whole, "We're using our real names" thing on registration? No problem, just send me (Mike) a Conversation message and I'll get you sorted, by which I mean hammered-into-obedient-line because I'm SO about having a lot of individuality-destroying, oppressive shit all over my forum.
    Dismiss Notice
  2. You're only as good as the harshest criticism you're willing to hear.
    Dismiss Notice

Imperial March (production file) - Classic Starwars template?

Discussion in 'Tips, Tricks & Talk' started by Alexander Schiborr, Dec 6, 2018.

  1. #1 Alexander Schiborr, Dec 6, 2018
    Last edited: Dec 7, 2018
    Hey Guys,

    I am bit silent here, sorry for that, just a lot to do the last month...but maybe someone can take a listen to my short template here? Got so far some feedback which was very useful. Actually collecting a lots of different feedbacks and trying to evaluate the stuff in order to improve that sound if possible for me. Any thoughts?
    I worked with a reference, so this is not the hifi telarc recordings, however it is that more gritty oldschool sound I am after because I simply enjoy the old production. Is that thing capturing anything from what I hope it does? Or not? Let me know your thoughts, guys.

     
    Rohann van Rensburg, George Streicher, Aaron Olson and 5 others like this.
  2. #2 Mike Verta, Dec 8, 2018
    Watch it - real "honky" in those brass. Woods are underrepresented. Good clarity in sections and staging.
     
  3. #3 Alexander Schiborr, Dec 9, 2018
    Thanks for the feedback. To get the honk out of sm brass is always a challenge. Any approach you have to do that? And believe it or not, I did a lot of equing on those instruments already to remove that honk sound..I even created custom ensembles which are tailored towards specific timbre dynamics. So you have here a horn ensemble for ff parts, a different eq one for mezzo parts and and different one for the quite parts. The behaviour especially of the horns at loud dynamics is very awkward sounding for my taste and it is very hard to get them..sounding like forte Horns. I can give the woodwind section 1-2 db + maybe. I will check that out.
     
  4. #4 Mike Verta, Dec 9, 2018
    That's ultimately why I pushed SM to a supporting layer for Adventure Brass, but I also found that some compression on the horn helps a bit. I roll off the really painful registers in the horn top especially. Other than that, my EQ curves for brass, especially SM, look insane, with all these micro, but severe notches.
     
    Jason Watts and George Streicher like this.
  5. #5 George Streicher, Dec 10, 2018
    This sounded fantastic and I'm really impressed with the room! AltiVerb?
     
    Paul T McGraw likes this.
  6. #6 Alexander Schiborr, Dec 10, 2018
    Last edited: Dec 10, 2018
    Its a mix of sample modeling ER´s, distance tool and instances of seventh heaven. But also a lot of equing room and dry samples to put them into the room. Its a very tedious process tbh. I used from Youtube some lso examples of solo brass to get an idea of the sound. Another point to create unison lines that sound not phasy is to shape each line and micro detune it. Some saturation plugs can also help to fatten them. (using a lot of UAD stuff)

    @Mike Verta



    I tried a bit to get control over the honk. But there are that limitations where I feel you can only diminish them but not completely eliminate it. One way is to build custom eq curves for each dynamic layer, or at least 3 (pp, mf, ff) and you have then to mix them, so when you have a unison line playing forte, pick 2 horns for the forte layer eq, 1 or 2 for the mf layer eq to keep lowend and fullness. Its very tricky. pushed the woodwinds sections by 2db also..
     
    George Streicher likes this.
  7. #7 Matthias Calis, Dec 10, 2018
    To my ears this is very good. You could definitely have fooled me. You're firmly in the territory where I don't think I can be of much help anymore sadly, outside of maybe using cc7 to fade in quickly on some very minor bumps here and there that I only heard on like the third listen. Those flute and string lines must've been a major pain in the ass to program. I wonder how you pulled off the flute bit especially? Is it the double tongued patch from bww?
     
  8. #8 Alexander Schiborr, Dec 10, 2018
    Last edited: Dec 10, 2018
    Hey Matthias, allright, thanks for the feedback. Well the woodwinds are from a library "Sofia Woodwinds" by https://librewave.com/sofia-woodwinds/ These are some high performance woodwinds, means actually those lines have no keyswitching at all.
     
  9. #9 Alexander Schiborr, Dec 10, 2018
    Here is a quick premaster..however I need some gin now..this production can drive also crazy..
     
    George Streicher likes this.
  10. #10 Mike Verta, Dec 10, 2018
    Yeah, I know it's the last thing you want to hear because I've been in this hell myself, but that pull at, what - 500-1000k? - where you fight the honk is also where you lose the presence. It's got that "EQ'd" sound. There's nothing to do but massage it for a billion years to find a balance. Overall, it's fine. The sound is less important than the performance anyway.
     
    Jason Watts likes this.
  11. #11 Rohann van Rensburg, Dec 11, 2018
    Eh I don't envy you, but I appreciate you charting territory for the rest of us.

    If it's any consolation you're probably sorting out the last 2-3% here, I very much doubt the average listener would really care or hear it as it already sounds fantastic.
     
    Paul T McGraw likes this.
  12. #12 Jason Watts, Dec 15, 2018
    Try the Timbral Shaping controls.

    These controls take time to adjust to taste, especially if you're trying to build a section, but they're worth a try.
     
  13. #13 Alexander Schiborr, Dec 15, 2018
    Thanks for the heads-up, Jason. I am on that thing for quite a while and builded over the last couple of weeks my custom harmonic curves for each instrument allready. Maybe an idea could be to alter the harmonic curves in realtime depending whats actually played and how loud.
     
    Jason Watts likes this.
  14. #14 Jason Watts, Dec 16, 2018
    That's the idea. I adjust the harmonics groups, and often I find myself adjusting the realtime controllers only between phrases.
     
    Alexander Schiborr likes this.
  15. #15 Jason Watts, Dec 16, 2018
    That said, it can be a pain in the ass. Sometimes I just go with a library that does what I'm looking for rather than adjusting the SM Brass for an hour or more.

    Also, like Mike, I often use SM as a backup layer for sampled brass that has more the sound I'm looking for. It works surprisingly well in combination with some, and with others SM seems to clash enough right from the start that I won't even fuck with trying to blend them.
     
    Alexander Schiborr likes this.
  16. #16 Alexander Schiborr, Dec 21, 2018
    Agreed, still I am trying to find a possible way to use it without additonal libs, I am actually building custom patches for each timbre dynamics.
    Here is the version 25 from I dont know from session..40 or something..tried to improve a bit the brass settings. However this is a long long term template project, maybe the most complex one I have ever worked on..



    Happy holiday guys.
     
    Runar Lundvall, Jason Watts and Mauro Pantin like this.
(You must log in or sign up to post here.)

Share This Page