In this video we get a little bit personal. The microphone balance (settings) is a matter of taste. Some people like the big stage sound with lush strings and ambience. While others love the intimate much more dryer sound of a small room. In my opinion there’s no wrong or right, it’s a matter of what fits your composition the best.
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Microphone options: close, decca tree and ambient
Samples are recorded with microphones. Orchestral libraries give you most of the time different microphone options: close, decca tree and ambient. Some libraries go even further with outriggers or other mic settings. Besides that some libraries give you also the option to use different types of microphones (ribbons etc).
So getting a microphone balance is certainly one of the things you want to achieve as a composer. It also can help you to get a more recognizable and more unique personal sound.
Download this week’s project file
I started the Masterclass on Youtube with the video preparations. I shared my project files (midi mockup etc.) with you all. If you haven’t downloaded them yet, here is the direct link: http://bit.ly/show-opener-gh0stwrit3r-music
You can download the project file of this week here: http://bit.ly/33fqhiN
[…] mixing and not during the composing. The only thing I did during the composing, is setting up the mic mixes. Not only did I use the tree mic, but I also used the closed and ambient mics for the strings. This […]
[…] I had a talk with a couple of professional film composers about using microphone settings. They told me that most of them only use good tree mic settings. No ambient, close, outriggers, […]