the way he used the reverbs at the end was extremely interesting - just to make a little room/space for the instrument with no obvious 'reverb' effect... very helpful technique, thanks!

Fantastic! Thanks for sharing Alan.

Amazing video!! Alan is just a genius!

The master at work... great stuff, super useful and insightful

Alan Meyerson... LEGEND!!!!!

Goosebumps

Priceless!

another fantastic video thank you guys for making this available

Okay man, late to the party but that was amazing! One of the few mix vids I've seen where I could actually hear the difference and also could feel the mix adding to the musicality of the cue.

You've got a great piece of music to start with.

Thank you for the great tutorial

I just looked through several orchestral mixing videos. I clicked off several of them because I found them too tiring to listen to and when I did concentrate I wasn't learning anything. Within 5 minutes, you got me hooked on the beauty of the sound you're making and the insight and knowledge you clearly have to offer. Thank you.

Amazing , thank you for this

Lovely, very relevent to my work right now

good stuff!

awesome WOOOOW

a good lesson!

i'd like the trick that you add depth to the Flute, i learned new thing, Thank you!

Awesome

Man what a guy, you can tell he loves what he's doing, awesome

That was good.

Incrível como poucos ajustes, com os plugins certos fazem muita diferença.

wow and i thought i new tricks Dammm!! that sound DAM Good

Seems like a 6:30, he's bypassing a shared Aux reverb, not just the verb for the flute. I can definitely detect an overall drop in the volume in the instruments when he hits bypass. Still, it's amazing what a little reverb on the right thing can trick the ear to thinking there's more there.

make a monthly subscription, please!

White Meyerson.. When I started mixing I was yooouuuuuuuuuung

Alan, how many mics are typically recorded for a film score these days, and how many of those get used? Thanks.

nice

I am a sound guy for a news tv station and I can tell you... boy, do I ever suck compared to this guy. What I do is vrey much different but I can't help feeling humble.

👌👌👌👌👌

OMG I just finish watching a Dave Pensados Tutorial video on Vocals and is Amazing how he starts talking about the Reverb trick that this incredible gentlemen talks in this video and how he learned it from him , he says it " it Like Magic" and i have to go back and watch this video again ,My only question is how can i achieve this effect if i dont posses any UAD or Eventide Plugings please help!!!

Monthly Subscription, PLEASE!!!!!!! I would buy.

I see Alan using certain plugins on tracks that I have found to not work on all Channels on say a quad or 5.1 buss. Puightech eq only effects stereo Channels for example.

Curious why the delay and reverb are not going through an aux and bus? I didn't see him adjust the mix in the delay especially...

What’s the name of this track from The Man In The High Castle

Where can I find the full video ? .. no links in the description ..

Feel free to mix my tracks if you're ever bored Alan haha 😁

it's kind of funny to have a $150k+ avid s6 and then he's mainly just clicking around the screen and using a mouse anyway lol

now that's how you treat a flute

Comment l'utiliser

Man in the high castle?

3:40 i would say it ads more body, not warm? Warm for me is a rich middle range, like in Jethro Tullls Aqualung and Thick as A Brick

Guys, I've been trying to get a carrer in producing/sound engineering, but I could use some advice. Most people say there isnt a lot of colleges teaching this kind of skill (Keep it in mind that I am from Brazil) and even if there was, most aren't worth the time. So most people advice is to do something else, maybe eletrical engineering for the afinity, and learn it on your spare hours. Anyway, just posting this comment to start a discussion, I could use some opinions, what do you guys think?

compression after the delay..ummm

I would argue that most modern media "composers" aren't actually composers at all. They fall more under the category of sound designers, experimentalists, and, dare I say, noodlers. If DAWs didn't exist, 95% of these people would be out of the business. DAWs allow people to "Frankenstein" things together as they play with their "digital Legos." There are things that become second nature to real musicians over the years that are simply foreign to the digital Lego people. For example, there is no possible way for someone who has just sat at a DAW most of their life to tell me that they are a better orchestrator than I am when I've been playing in numerous bands, orchestras, chamber ensembles, etc. since the 80s. So much has reached our subconscious, so we intuitively know what works, which combinations of instruments sound horrible in unison, general ranges of the instruments, and what actually works in the physical world. Some moron on KZfaq who is confused thinking that she's "Joan Williams" wrote one hour's worth of tremolo parts for the strings while playing with her digital Legos. At the scoring stage, they told her, "Look, we can't do this anymore." Ignorance like that could potentially result in serious injuries that could have lasting effects on musicians. There is no substitute for real-life experience. How can you claim to be a champion swimmer when you have never jumped into a pool? It's simply not possible. People are using DAWs as a crutch to find out what might work rather than simply hearing it in advance. Since I have perfect pitch, I can actively tell myself, "Imagine the Principal Oboist playing a legato passage in this range, in this specific character, etc." I can also hear particular soloists in my mind as well or imagine the CSO's brass from their golden era under Reiner. Yet people like me are blocked from the business because many of you DAW people are like bulldozers. You don't know what you don't know, so you assume that you are armed with actual skills and then go and somehow get your foot in the door shamelessly working your connections. Unfortunately most directors and producers know nothing about music, so if you are a good talker or someone with strong industry connections since Uncle Bob supplies light bulbs to a major lighting director, it's only a matter of time before you will get in the door and start working, even if it's a bunch of really small projects at first. The other major thing that's missing is the actual performance aspect. Dear God, if it's a big budget production where the digital Legos are transformed into parts, guess what? The live players end up sounding like digital Legos! It's a complete waste of money. Might as well install MIDI ports into the players' heads! And I have to laugh when a media composer counters by saying, "Well we have CC data, dude." Well that's just adding fuel to the fire because if you have never played an instrument at a very high level, then what the hell do you know about proper phrasing? The phrasing needs to be INTEGRATED! You can't just use a variety of CC data as a substitute. I've seen the CC data of some "big" LA composers and laughed my butt off because they just drew in whatever just to add some variety (excuse me, but....AHAHAHAHAHA). No, it doesn't work like that. A lot of the phrasing is already implied based on the melodic lines and harmonic movement. You can't arbitrarily go to your MIDI editor and draw in swells (well you can but it will just sound bad). All that tells real musicians is this: "I don't know what the hell I'm doing." Yet many of you working media "composers" act larger than life. If you are at some industry event and John Williams comes over and asks what you do, you should say, "I'm a professional barista," because the gap is so wide that it's beyond ridiculous. This goes for you as well, Hans.

Putz

Where was the score mixing? Just putting reverb on a flute? Whack.

This is idiotic. Every mix is different and will have different approach. Making this kind of videos is same as making videos how to cut the tree.