Hey, this is Tom junkie Excel and welcome to studio time with junkie XL
the second episode of the Tomb Raider series
this one is
6m forty which means queue number forty in the film, and it's happening in real six and
This is an adventure cue where
Lara's trying a lot of things out and then things are working out, but it's all very mysterious and very
Pretty dark at certain points, but
I'm not going to tell you what's gonna happen in the picture because I don't want to do any spoiler alerts
I just want to focus on the movie
On the music and what I said in the previous episodes
He said I wish I could show the picture, but we don't have permission to show the picture
I mean actually we never get where we do studio time so unfortunately we can't do it
We just have to focus on the music again. This is a fairly long queue
five minutes roughly
And let's just look at what we have here so at the top we see
All my markers and the meter changes we discussed that pretty
Extensively in the episode before this so if you want to know more about that. Please watch that episode
So in the Marcus I put everything down. That's happening
on screen
And I try to find the right
Tempo with it, which we see here
a couple of changes
But I did find a tempo that was more or less working throughout and then halfway through the cue we go to a higher tempo
And then it stays pretty much the same throughout
And we see our signature track here where I had to do
You know quite some meter changes to hit like certain shots and just to be in time with with the music again
Previous episode goes way more in depth about that, so let's now look at what instruments
We've used here like I discussed in the previous episode. There is a folder called special
Project instruments and those are instruments that are unique to this film and then underneath that we see
all the
instruments that are
Pre-loaded in my templates all the time
So there's a drum department here
Some more drums here
We see here the Tomb Raider drums. There's a separate episode about the Tomb Raider drums, so
coming up
and
here we have a couple of guitar instruments some sound design instruments, and then we get to the
Castle bit primarily strings, and then here we see the brass so this cue is
More orchestral in nature than the one that we saw recently
But there's still a lot of electronic stuff going on as you can see here
So I just open up the special projects instruments folder. We see a lot of bases on top
zebras a bunch of contacts
Process audio there, and they're a bunch of process audio here. We see that choir track again that we saw in the previous episode
And some drones harmonics that are being treated so a lot of stuff is there still
but
We'll get into that in a little bit
So let me just play you what this cue is and then after that we'll go in and talk about it. Okay here we go
So that was a queue as you can tell it's more adventurous in nature the first queue that we discussed was very electronic
There's a lot of electronic stuff going on an S queue, but there's definitely more
Orchestral stuff going on so what I would like to discuss with you is
The different elements that are in here. I'm gonna skip a few elements that we already discussed on the previous
Episodes because most of these special instrument tracks are actually the same for each queue
So I went in it's like pretty deep in in the previous queue, so there's a lot of
Electronic elements at this point that we don't really need to discuss because it was done in the previous
episodes
So a couple of things that we see here. Just quickly going through it. We see a bunch of these bases here
In a row which are the same basis that I've used for the for the other queue because you're always trying to use the same
Instruments throughout a film so you create continuity
Then let's go down we see the same kind of instruments so here we have again those
Guitar instruments that I talked about that I made myself
for this for this film
We also see that choir track again that we talked about the life
acquired, that's
singing like the D tuning notes
We see the same type of drones that are Rainier or Kessel effects
Some
Extra drones down here so a lot of that we we actually have discussed in the in in the previous Q
So things I wanted to discuss with you today is on the orchestral side of things
like what libraries are have been using and
What do they do?
so my library of choice is
For long strengths is cinematic strings
It's a very
Nice sounding library, and it has a bunch of different
articulations that you that you can use I'm opening up my
Notepad here on the on the left and what I actually do in the notepad
I actually type in the articulations available for every track
So it's it's way easier to find stuff especially because I have so many libraries so if I play the first violin
So that's the legato modulus as you can see it has these key switches on the left so I can basically go through all of
them so
Non-for Grado
The most amount of Sobrato and then we go to the next key switch which is tremolo
Staccato
Half tone
Pizzicato
Whole tone
And then the B flat is note legato on/off so
So with the B natural it turns into polyphonic insulin
So it's a really nice sounding string library. I did quite a lot of processing on this
to make it sound the way that it sounds for starters I
Resampled the samples that come with the library, but let's just now
look at the returns and
let's see I have this thing set so I have this button on my
Touchscreen that is on and off sync mixer and projects which basically means that I can now start selecting
different tracks in my
mixer page without
Losing the MIDI connection that actually goes to the instruments, so let's now find this string library
As you can see there's a lot of tracks here
So it always takes a little bit of time to find it ah there we go
So I'm using three microphones
Positions to playback this library so the first layer is the clothes mic the second layer is
The room mic going to the front and the third layer is the surrounds going to the back so every simple library
That's loaded in the studio is
Actually using all the microphones positions, and it's actually all in
In surrounds, so it's a nice way to you know to actually write music like that so if I play right now
We see to faders
getting signal
One signal is going to the back
Which is the surround compartment?
And then one channel is going to the front which is the combination of close and far mic
So let's now see what's going on here, so I have a unique reverb created for the strengths alone
And it's called UAD lexicon front strengths long, so let's just look at that and see what that thing does
There it is so let's open up this reverb, and this is the this is the reverb that I'm using it's a fantastic sounding reverb
It's the lexicon two to four which was one of the older
Reverbs from lexicon and I think it was the first or the second digital reverb that they ever released
And I have it set to 2.8
seconds
The treble decay just like so not too long so it actually
Signs not sounds nice and warm the mids are tucked down a little bit
Any Chris is really nice?
Really nice reverb so now I have one that is going to the back, too
so there's one reverb going to the front and one repurposed go into the back and
The settings are ever so slightly different on the second one so it's it's it's slightly different
For the front and for the back so here we see the rivers coming in one goes to the front
and one goes to the back, so let's now go back to our via channel and
We lost the position where we were but
We'll find it a little quicker now than we did before
Ah there we are beautiful here, we have the reader so the violet
So that is the reverb so I'm sending the front of the signal to the front reverb
And then I sent the surround that goes to the back to the reverb to the back and you get this really nice mix
So let's look at the EQ
Of this return, and we see I actually
Made the lower frequencies a little
More, I have a little dip around 2000 Hertz and then above that we see it goes up so it
Creates some air let's just play it with
And now without
With
So it adds that really nice
Shiny top ends on it
But most of the processing is actually done when the samples were being resampled and then the thing was
built back together again
to create this really lush sound so
That is the cinematic strings, I can go through the other tracks, so I've got
The first violin track here, so this the second track is actually the DVC track
So it means that the the group of 14 is now split in a few players that play this and a few players that played
Out so if I open a MIDI part right here
Here you see that the first violin playing this melody here
And this is the DVC track that plays the the place the other bit so if I just were to solo this
So technically the notes that you see here now needs to be played by 14 or 16 people depending how big your first
violin group is
And you determined that a lot of times on the spots when you will when you are recording will go to the live recordings later
So this is the cue where it's at at its latest stage
Approved by the director in the studio before we go in and actually record it
so that's the first violin and it's the VZ and now we have the second violin a
Very nice sound and it sounds further in the back
So the processing on these tracks are somewhat similar, so I don't need to pull that back up also here
we see that the VZ of the
the second violins so that means that if they
Play together you have a top line you have a bottom line and let's just play this section quickly
So that means if you have a second violent group of 14 or 16 that needs to be divided between
The players so they can play that I usually write with a fairly amount of division strengths. I never go over three
Two is usually the max, but sometimes. It's three, but never over three
so here we see the violas same thing so there's
So that's the viola and again the division viola sits underneath so if you write more than one part as we can see here
So now the viola group also needs to be split up between two different lines
So that's that little bit there we move on to the cello
Very nice sonic sounds on top we see the first cello, and then we see the cello Divisie usually
The top cello actually plays a melody and the bottom celli usually play whatever the bases are playing, but then an octave higher
So let's just play this
There you have the celli and then the basis only load at once because usually the base
Using the base place monophonic every now
And then I would ask the players to divide the section and a half and then one section is actually playing an octave higher
together with the chilli
But that really depends, so that's the cinematic strings library where to remind myself on the left. I always put the key switches
Into the notepad so it's easier to remind yourself. Where all the
Key, switches are now so people might ask
You have this really fancy touch screen in front of you
Why don't you make buttons for that on your touchscreen very good question the point is that I have so many libraries loaded?
That I would need so many pages for these key switches
And I by now, I just know him out of my head at the top of my head
So I just do it like almost a second nature, so it's quicker to do it now with touch screens the other good
The other good question would be why don't you set up the expression map which is right here
And here you could potentially do that for every intercalation very good question
And I might do that actually the next time around when I'm rebuilding the whole template from the ground up
So I'm on Cubase 9 right now. There's a 95
Update that. I haven't installed yet because for me
Security safety and stability is very very important, so I haven't switched to 95 years
But probably when 10 comes out
I don't know when 10 comes out, but then it might make sense to build the template from the ground up
And then I'm potentially gonna look into the expression Maps to see if there's a better way of
Doing this than what I'm actually doing right now
And if you guys know better ways to do this then please leave your comments underneath the video
And I would love to take your advice
that you might have so let's now look at the brass now the brass this is somewhat similar story as
as cinematic strengths I actually
Remix these simple slightly different so a lot of the processing is done internally on these on these samples
But it's my brass library of choice there
There's other really good libraries out there, and we're in the middle of actually trying a bunch of them at to see if they're helpful
Let's just start with the the horns so on top. I have a six horn patch
So nice round sounds the twelve forints is really brutal and thick in sounds
Really cut sounds the trombones
We get to the bass bones
More bass bones
And then the tuba
So let's look at the mixer for instance of the horn patch
Let's see what's going on there of course? I need to look now again for this insolence
Let's see where this thing is ah not too bad. It's right there, so
I'm just going to open up
The plugins so here we see something similar than what we did with
With the strings that we just discussed so you see here
this is the closed mic that comes in the channel right next to it is the far mics and the mid mics and then
here we see the
Room mics in the back, and they go to the back so if I play
We see three channels lined up and those are going to the
respectful spots in the stereo image
To the front two one goes to the surrounds also here. We see a reverb
That's dedicated for brass only and again. This is the
The lexicon to to make that we just discussed it has slightly different settings
I have a slightly different reverb for the brass then for the for the strengths the brass we've representing a little longer
And a little busier because I like the sound of that and there are two plugins on top of each Channel
so
There's the 560 right here and here is the 550 550 B
so the things that I put in here so if I were to
Select these three. I just quickly make a group of them and just
deselect the plugins
So that's without that EQ are now with
So it's quite a quite a difference. It's beefier
It's brighter, and it's more top end and the samples themselves have been treated, so
It's quite different than actually what you get when you when you when you buy it, but so what's what do we see here
So around 100 Hertz I'm adding
Almost 60 B to the to the low ends around
182 DB around aka 2 DB and 10 and above 60 B
So it's really opening up the spectrum and then on the graphic equaliser. We see a little bit more top-end
They're a little little bump around
125 and a little roll-off around
31 Hertz because that really low frequencies we we don't really need so I'm just rolling it off a little bit
The combination of these two I'm really happy with with the sound of death and the EQ senex are slightly
different for the room mics then for the close mics
So for the room mic I almost went up to 12 DB on there on the low end
And a little bit more filtering off around
30 and a little brighter on 16 K and up and let's see what I did for the surround mic
So there's some different things here
I took 63 a little out and 30 because we don't really need it for the back that low around hundreds still that bump
And the high ends is more or less the same and a little brighter on the top and in in the back
So those are the settings that I have for the for the for the brass and there's somewhat similar for each
Instrument I can quickly
pull up my
my reverb here and just to see what I'm doing with with the reverb so we go into the effects page and
Here we're now pulling up the brass front
and let's compare that with what we had for the Strix and
You can see immediately there's a difference in time so the string reverb is shorter the brass reverb is longer
And we see that the treble decay is a little
longer on the brass reverb there the
String reverb, which makes it a little longer obviously, and you know a little brighter
We see that the bass mid mix is slightly different on the brass
Reverb then the string reverb so
These small differences just create extra depth in the in the in the mix
And I really like using multiple reverbs or multiple delays with slightly different settings so
You get a more complex sounds again. If you go to studio times season one
There's a really solid episode about
The use of effects and how the how the template works. We're now looking at the mix session and
at the beginning of this episode we were looking at my full Cubase session with all the Midianites and
simple libraries and all the load of contacts that whatnot
And how you get from that to?
The mix session I was highly advise to watch the Dark Tower episodes because I go step by step
How you go from?
Writing a cue to sit mastering your cue how to get to orchestration with with material?
And how you end up with the mix session so if you want to know how I do that look at the doctor our episodes
So here we're now in a mixed session
So we see all my steps here
That are generated from that Cubase session that we have opened before with the approved cue but obviously now
We have the real-life recordings in there that I did in London
So I want to focus on the strings in the brass and I want to
Play that back to back to you and also how cool. It is to have a combination of their of the two, so
Let's play the synth strings first, so let's go to a section where the strings play
And we're now just listening to the samples how they were programmed with cinematic strings
So those are the program strengths now, let's listen to the actual life recording done in London
There's no reverb on that that is actually how that room sounds and the studio is called air
It's a beautiful room and has a really lush
Reverb, so those are the strings life strings on their own
And we just played the simple strings on the road so if we just a B
Well we can do that and then let's see how that sounds
So the samples have a very very direct quality to it whereas the life recording is more roomy so
Let's see if there's a way to find a balance between the two
Where you?
Could actually play both at the same time which is a sound that I really like so let's just play it again and let's move
some of the sample strings in
So what you see is very interesting
And I really like that sound where the life recordings are at zero DB
And the string samples just come in to like minus 10 minus 12
Then you get this really interesting mix between the two of them, and it makes it a little wider and a little fuller
so I'm personally very much a big fan of it as long as
Life recording strings always take the upper hands in what what your what your programming, so let's now look at the brass
So I just have to put my glasses on otherwise I won't be able to see anything so here
We have the brass that is being programmed and then underneath we see the life recording
So let's now play the same section with just the programme brass
Okay, and now let's listen to the life recording record it at air
Again there's no reverb on this this is what this room sounds like it's it's incredible
So also here. There's a nice way to combine the two things together especially the lower brass so let's start with that
Let me
Take this out
Of ya, okay, so now these t these two move together. I'm just going to link them together again
So these two are the lower brass and the trombones, let's just play it back and just try to find a mix between
Again that's just like a nice mix that gets tricky with the horns
No, because the horns immediately start to feel like they're programs. Let's just
So let's play it again, and then switch the samples on and off
So also with the simple brass with the brass
I feel like a little bit of the samples in there is actually thickening things up so now
There's a trick that you can use if you feel like the brighter
Side of the samples are taking over the or castle elements, and this is what you can easily fix
I'm just gonna turn this back into a group again. Oh
I have to UM
link select it first and then
I'm gonna put these in a group
And I'm gonna make sure that EQ is on so a trick that you can use is that you're basically rolling off
The high frequencies off the samples just by quite a lot so now that if we play the sample solo now
So let's play that with or without EQ you can hear the difference
So now I'm rolling of all the high frequencies off the samples and
Now I'm gonna
Add it back in to the live recording
So now we won't hear the really artificial high ends that you have with samples
And you get a much more natural sound so let's just play it now with these process
Samples into the live recordings here we go
So the interesting thing that we got right now is that we have the fullness of the samples
But we don't hear really the crispy high ends of the samples that make it sounds artificial
So we're using everything pretty much below 1 kilohertz to fatten up the samples
But we used their life recordings for the for the brightness and for
the the real-life recording plane
So this is a trick that I also use a lots to to create fullness with the samples without them overly hearing in
in the final mix so
That was this episode's like primarily focusing on the yolk soo libraries
And how you mix the life recordings, and I hoped you liked this episode. I see a on the next one. Bye
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