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.
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  2. You're only as good as the harshest criticism you're willing to hear.
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Mike's New Rig

Discussion in 'Custom Projects' started by Mike Verta, Oct 1, 2020.

  1. Through my Roland DS7. I used a slight mid-side EQ because I felt that some of the sections were a bit too disconnected or simply too wide (just for my personal taste). Of course, I can just take that out (normally when having control over single sections it helps to move things together.. Let me know if you want a version without that.
     
  2. I have only ever used mid-side to widen things, not to narrow them. Curious. However, the width is built-in from the samples/rooms. Not hearing the disconnection you're describing, but then again I'm on different monitors. I do like the idea of finding more presence in the mids...
     
  3. Still doing crazy things to the imaging. This is the UA Studer A800 plugin?
     
  4. #45 Alexander Schiborr, Jan 14, 2021
    Last edited: Jan 14, 2021
    Well, yes the Studer A800 (UAD) is still there. Normally the Studer should not do this. However, I used an Audio Grabber from Chrome to get the file from Soundcloud, not sure if that is there suspect here. A bit strange though. Maybe that happened while grabbing the file from sc. Not sure though. But yeah, take out what you find useful. The Midrange definitely could open the sound. Also, donĀ“t forget to tame the transients on the trumpets/Trombones when you go very loud. Sometimes they produce harsh tones.
     
  5. My Focals image with a precision that is off the charts. I've never heard anything like them. I constantly hear new things in mixes I know like the back of my hand. I'll grab one of those UA accelerators and that plug-in and see what it does at the source.
     
  6. One thing..not sure what percussions you are going for. I actually think the Hollywood Percussion and also the Cine Percussion is still a really good choice. Specifically the Bassdrum 40 inch in Cine Percussion..has some really bam and oompf and you have a lot of control with the micings to dial in a really great sound. That Room..is just great..
     
  7. I thought i was the only one spending time with porn in the middle of composition on multi screensetup. )
     

  8. Which libraries for woodwinds brass and strings? I still didn't find my true love. Libraries which are playable lack the sound quality, those which have quality i can't play any lines with them... I am doomed. Currently i feel not too bad with performance samples caspian, very playable, musical sampling adventure strings (Adven and per articulation) and spitfire woodwinds (layer them with VSL Woodwinds) and Joby percussion. It seems to me it is most playable setup i have so far. but the overall sound is not that boombastic enough to be a final product.
     
  9. Martin Eder likes this.
  10. :)
     
  11. @Mike Verta Any plans to do a "Template Balancing" v 2 with the new setup, or an adendum for how you've simplified?
     
    Samuel Diaz likes this.
  12. #53 Tom Welsh, Apr 8, 2021
    Last edited: Apr 8, 2021
    @Mike Verta Hi Mike, I'm also thinking of getting either Spitfire Symphonic or Chamber Strings for my new template. Do you have any thoughts or advice on mocking up realistic divisi writing given that classic issue of total player count apparently doubling when you play a string patch polyphonically or use the same string patch for each part, where as in reality the number of players would be cut in half?

    One solution I've thought of trying is to use Spitfire's Chamber Strings (1st violins only 4 players, 2nd Violins, Viola, Celli 3 players) and treat them like each one is half a full-sized section. In other words, use 2 Violin patches (2 x 4 players) to give the impression of a full 8 player section - 2 Viola patches (2 x 3 players) for a 6 player section etc. If not using divisi, then I would record the same part with both patches (not copy paste as this would only increase volume). If weird comb filtering artifacts occur due to samples doubling, then I'd hope to eliminate this with some very subtle pitch, formant and / or EQ, reverb changes to give some sonic distinction between the two.

    What do you think?
     
  13. Just an opinion, don't shoot me )) Spitfire strings sound great on their own but they occupy a lot sonic space in low frequencies, if room mics are used. I have and use them with a lot of low pass filters to clean the air. And sustain patches are not that playable, makes me wonder why Mike migrated from hollywood strings to spitfire strings )).
     
  14. That is asking for trouble imho. If you want to go fake divisi that way I'd make sure you play back different samples on both patches. E.g. make sure one patch is played one dynamic layer lower, and compensate with raising volume, or pitch transpose one patch down and midi transpose the incoming notes up (usually 2 semi tones is enough to ensure landing on a different sample, but some libraries need more or less).
     
  15. That sounds like a stoke of genius, have you tried that yourself? I can't really see how that wouldn't work if different samples are being triggered. The only drawback maybe some added latency during performance due to real-time pitch shifting and a little degradation of audio quality... although the potential for added authenticity would outweigh that.
     
  16. Consider yourself shot. I was thinking of using mostly the direct mics anyway and augment with some large studio convolution reverb for a more intimate kind of sound. I should be able to blend them with Aaron venture brass and winds which are completely direct sounds and so reverb-friendly.

    I'd be willing to put the time into mastering the sustain patches as the end result blows me away from what I've heard from the demos. Let's see if I still have the same opinion once I'm actually using them, though.
     
  17. If I remember correctly, he uses just one patch, that it really doesn't matter the number of players, maybe he will turn down a little bit CC11 to compensate but that's all. Unless that with SSS he changed that approach.
     
    Martin Hoffmann likes this.
  18. It's neither genius nor new. Commonly the technique is known as the "transposition trick":




    There is no added latency. Most Kontakt libraries are already using pitch shifting, because they aren't sampled chromatically.

    It does work, but limits the playable range of the instruments and generally tends not to be worth the hassle imho. You might get more mileage out of the approach, if you process your two fake divisi sections differently. When you listen to real divisi sections in sample libraries, they don't sound the same. At least the one library that I have that has real recorded divisi doesn't sound the same. Different players sitting in different places should sound differently. Pitch shifting the higher note sample down with the transposition trick already will sound a bit different of course, but it's still the same panning etc..

    Iirc Mike's stance on the topic was "with samples it's all fake anyway, it's not the same as doubling the player count of real players, so don't worry about it". And as Carlos noted, maybe some CC11 tweaking to compensate for volume differences. Also depends on what you write. Use your ears, if you think it sounds clearly better one way or the other, go for it.
     
    Tom Welsh likes this.

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