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Tag: abbey road

The anatomy of a score mix #5

Today it’s all about reverbs. In some ways it’s interesting how much and how different reverbs are being used in a score mix, on the other hand sometimes it’s quite the opposite, reverbs used very sparingly.

Obviously this heavily depends on the score and the concept. But many times especially on symphonic material reverbs are only used to enhance things a bit, to reinforce acoustics and not for really hear the effect itself. This is because mainly when it comes to a symphonic orchestra, we strive to maintain the real coherent balance, only elevating the whole picture without ruining the delicate bond that makes a real orchestra inimitable.

In a hybrid score that comprise electronic and acoustic material we might use more or even less depending on how we can massage together the two vastly different worlds. Although I’m always surprised how well these two completely different types can live together in perfect harmony sonically if you find the right balance.

This is a hybrid score with lots of electronic stuff in there so let’s see what I’ve used to create space, to enhance acoustics and to create distinct effects.

Altiverb XL

I think this would’ve been everyones’s first guess. Altiverb in my opinion is the very best convolution reverb. High quality impulses and the guys really work hard to grow the already huge library of impulses. Although I’m known to be mostly in love with algorithmic reverbs, if I need anything impulse based, I reach for Altiverb. I have my own favourite halls and rooms I always start out with and then tweak them if needed. The XL version is the complete surround iteration of the plugin which is not cheap, but definitely worth the price.

Exponential Audio R2 surround

This was my very first purchase when I discovered the brand. Absolutely blown away from it I clearly remember that I played with this for days. I liked it so much that I failed to create a favourite preset list as I loved so many presets. Since then I own many of Michael’s plugins and for a good reason. They are superb! The amazing thing is it can be subtle small room of a huge arena, the R2 can recreate it with vibe and feel. The implementation is just perfect. If you want to keep it simple, just call up a preset and probably you’re ready to mix. But if you need more control over the surround field, it’s right in there only a mouse click away. Very well thought out interface that helps you find everything in seconds. Still my first choice for scoring.

Exponential Audio Phoenix surround

The brother of R2 I guess. If you need real spaces, look no further. It’s amazingly clean, many times I like it more than almost any convolution on the planet. I’m not an expert in algorithms so I won’t be able to tell you why this plugin can create more realistic feel than most impulse based one, but it’s true. You should try it. The other nice thing is the Exponential interfaces follow the same basic principle so once you know one, you know all of them. No need to search for things, it’s all very logically placed so during mixing it’s easy if you would like to change any parameter. All of Michael’s plugins are extremely reliable when it comes to automation and they are zipper free so even if you glide from one set of parameters to something completely different, they won’t create that nasty zipper noise many other plugins produce.

Avid Revibe

The old and trusty one. Well, not so old as they updated it to AAX DSP. One thing everyone should know is that Revibe is always running in surround mode, meaning it’s eating the same DSP or CPU power even if it’s only a mono or stereo instance. Otherwise it’s still very popular even in post production circles. It’s a great reverb. For music I have my favourite presets in it, and tweak those a bit to fit my needs. Still, Revibe always find its place in my score mixes. In the last one or two years I tend to use it less and less, but there are certain things that it does perfectly. It’s a huge plus in my book that it is AAX DSP. Sadly very few reverbs supported on this platform.

Waves Abbey Road Plates

The digital recreation of the old and very, very famous Abbey Road plate reverbs. You can check the history and background of these gorgeous plates, how they worked closely with Abbey Road to catch the tiniest details of the original boxes. I can’t compare them to the originals, but this plate is just magic. Every time I use it it makes me smile. Somehow it almost always blends perfectly well with the material. My only negative comment would be that it eats unbelievably huge CPU power. Really, it’s that big of a CPU hog. Not to mention the fact that it is surely loosely optimised as it uses the CPU cores extremely unevenly. Once I had a conversation with Waves’ customer support and they seem to think that it’s fine this way. But hopefully their engineer don’t think the same. At least I’ve never seen any plugin properly coded and optimised using only one core at its extreme while ignoring that there’s another 11 cores would be available.

PSP 2445

It’s the newcomer, at least here. PSP made this based on the EMT 244 & 245 reverberator and all I can say is they did a pretty amazing job. This is also a plate you just insert on an aux, send some signal into it and it’s already sounding gorgeous. Additionally you can switch it to be solely the 244 model or the 245 or the combination of both. Not too much parameter to tweak but it has some under the hood goodies if you open the little box at the bottom of the plugin. While I really appreciate when companies make authentic emulations, the trend that they make it more clever with additional features that had never been available in the original is a great decision.

Eventide 2016 Room

It is an old-new love for me. The first moment I had the chance to try the original hardware I knew we would be great friends. And our friendship is stronger than ever. It is a perfect room if you want walls around any source or even if you’d wish to have bigger rooms for horns and percussion. The amazing thing is that it also works on strings. Honestly I know it’s not a plugin with a zillion parameter to adjust, but it really works. Works on any instrument in any genre. And it is really light on CPU which is a great thing when you’re mixing a huge score.

I don’t know the proper background but the thing is, these old reverbs, or the emulations of them many times seems to sit better in the mix. Reverb plugins became unbelievably great in the last few years, yet I often reach back to an emulation that is based on some old hardware. Maybe it’s because back then they’ve spent more time to develop one algorithm instead of rushing to release something, maybe it’s just my taste but for me one of the serious points in using or not using a reverb plugin lies in its ability to blend in the mix without tweaking it for 30 minutes. As you can see I’m in love with a few very new ones but also don’t want to uninstall the oldies as they really not only get the job done, but do it beautifully.

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The anatomy of a score mix #3

By popular demand, let’s take a look at the plugins in the session. As you can imagine there’s plenty of different brands and types represented in this mix. I admit that sometimes I suffer from plugin fetish in a way that I fall in love with some and maybe use them many times, but try to actively control myself in this regard.

During the mix I have the luxury to use both AAX DSP and AAX Native plugins as I don’t need to overdub right into the supersession. If we need some additional recording then I prepare another rec session instead of dealing with this huge monster. It would not only be extremely hard to do everything in the supersession during recording but would put immense burden on the recording machine too.

Let’s see the plugins divided into different categories.

EQ

Probably the first one will raise some eyebrows, but I still use it and actually like it. It is very reliable even when you automate the hell out of it.

EQIII

Yes, the old built-in EQ in Pro Tools, available to anyone. It’s versatile, trusty and requires virtually no DSP or CPU power so if you can have zillions of instances.

Avid Channel Strip

This is also a very good choice, a huge plus is it maps on the control surface almost perfectly. Honestly I could mix a whole score only with this. Don’t get me wrong I still love some other EQs, but I’m happy to use this anytime.

BX console

It’s a beautiful Neve emulation and a very good one in fact. Even if I only use the equaliser part of it, I often have it at certain places just for the sound. This EQ always make me smile, it’s smooth and for the lack of a better term, it’s always musical sounding no matter what you do with it. I don’t use it for surgical stuff but for general ‘console’ EQ. Also maps great on the Avid S6.

Maag EQ 4

I really rarely say this, but this thing is magical. Although by today’s standard this is not a flexible tool as it doesn’t offer variable frequencies. But frankly, it is still one of my all time favourite tone shaping instrument. Even half a dB can make huge difference and the Air band is amazing.

Waves API 550

The 550 B and A also falls into the emulations category, and I confess I’m in love with them. For me, these pieces just works. It doesn’t matter what the application is, you can be sure about that if you insert an API on it, it’s going to sound awesome. It has fixed frequency bands, but the bands are overlapping so it is possible to achieve anything you want.

EMI TG 12345

Yes, I know, another vintage emulation… But believe me, they offer vastly different vibes and sound. These oldies are somewhat limited when it comes to features, especially when you compare them to the newcomers, but they still has some very special magic you can’t really achieve with the modern tools.

SSL EQ

I know this is a big fetish in some circles, and for a very good reason. This is for me a very liberating tool. Just insert it, twist the knob and enjoy the result. Not saying that I’m thinking too much when using any other EQ, but this one always makes me smile.

McDSP AE600 Active EQ

This is a very special one. As this masterpiece can be a spectacular EQ and a Dynamic EQ at the same time. I use it for cleaning up things and for general tone shaping. It also sits on all the stems. As much as I love vintage emulations, this EQ offers all the flexibility you’ll ever need. It has 6 fully overlapping fixed and active bands and you can choose from many different curves depending on your needs.

Well, believe it or not, that’s it, I’ve used these EQs during the score mix. I know many think that using these vintage emulations are useless because you can achieve the very same thing with a flexible and modern tool as are able to have many different curves. I won’t say that sometimes it’s impossible to almost or completely match the curve of a vintage EQ. But! And this BUT is bigger than you’d think. The main point here is to achieve what you want rapidly without overthinking and without loosing perspective. If you start to be an engineer with a white lab coat analysing and reproducing different special curves, you surely won’t have a great mix. This is the reason why we still love and use these emulations.

In my opinion during a mix the bottom line is to use any tool that helps you achieve the result you’re after. Different EQs leads to different results and mixing is definitely more than the sum of its parts. Use whatever you like, use it wisely and trust your ears.

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