Yeah, I’ve definitely blended the sounds to make one huge cohesive sound. I did this by cutting out frequencies I didn’t need. When you have this amount of instrumentation in a piece you get a LOT of frequencies you don’t need. So you are literally carving out the stuff you don’t want. For instance, the synths have no information under 400hz and no info over 12/13/kHz I just didn’t need it… it sounds so wrong to do but ultimately we are writing and mixing for what the piece needs, not what the individual instrument needs. I was constantly checking between the instruments to see wether what I was taking out was still filling the gap in the harmonics by soloing the instruments and taking them out and putting them back to see if it enhanced the parts. In terms of the synths I didn’t want the harshness so I took that out along with the low end which was being covered by the ostinato bass and the spic basses, and on those instruments I took out the mids and the sub info so it didn’t get in the way of the hits… and then I took out the 5k stuff in the hits that was getting in the way of the cymbal fundamentals, and then I washed out the cymbals so they didn’t get in the way of the tiki takas… and so it goes on until I finished the piece.
Sometimes I added information though, like in the spics I added a LOT of mids just so they had the weight that I wanted. So it’s all about how things sit together, not just the composition
Hey Carl I won’t be featuring it in a movie or trailer. I made this for educational purposes:)
I think I used around 9 different libraries and the rest is sound design. All hits, risers, synths and even some percussion parts were all made by me, as that’s what you’d need to do with any trailer music company.
I used
Albion 1
Spitfire studio strings and horns
Fluid shorts
Caspian
Violin Swells 2 (my own library)
EDNA Earth
Action strikes
Damage
Do you think you will make a video sometime of how you made those percussion parts? A lot of libraries was curious thanks for the information and sharing. Great track and mix quality.
Very cool! I really like the breakdown of the sections and the breakdown of the instrumentation you give in your description. I’ve only tried writing trailer stuff a few times, and I was kind of intuitively going for the kind of things you’re describing, but it’s nice to see it spelled out by someone with more experience.
I absolutly loved this. Perhaps it’s the fact that THIS is the kind of music I long to compose in the end (I’m not getting right into it as I feel this is very complex and I’d rather get more experience in different genrses before) but it was super inspiring.
I just didn’t need it… it sounds so wrong to do but ultimately we are writing and mixing for what the piece needs, not what the individual instrument needs. I was constantly checking between the instruments to see wether what I was taking out was still filling the gap in the harmonics by soloing the instruments and taking them out and putting them back to see if it enhanced the parts. In terms of the synths I didn’t want the harshness so I took that out along with the low end which was being covered by the ostinato bass and the spic basses, and on those instruments I took out the mids and the sub info so it didn’t get in the way of the hits… and then I took out the 5k stuff in the hits that was getting in the way of the cymbal fundamentals, and then I washed out the cymbals so they didn’t get in the way of the tiki takas… and so it goes on until I finished the piece.
