Another greatly informative and educational video Paul. This one in particular is a real gem for me personally, as someone who has always tried to blend mainly through EQ'ing and reverb. Learning more from your focused and detailed videos than most of the online courses I've taken, which is a real credit to you. Thanks, once again.

Thank you so much for this video Paul. Each time you present something, you make it look so easy to do. Learning a lot from each. Also, the color grading in this video is absolutely fantastic. Looking forward to seeing your template video!

Look how good Paul makes that shirt look.

Wonderful, as always. Thanks a million, Paul!

Matching the mic configuration really is absolutely logical and makes a lot of sense

Very educational thanks Paul…Keep the videos coming!

Ooh been waiting for this - loving Apassionata and have both SSS and SCS!! Thanks Paul! :)

What a diverse instrument look forward to getting it love the bite it gives on the spiccato playing but then sounds divine on the legato's bravo on an excellent and ground breaking instrument........on another note would love to see you with a hands on in your studio a stepback from your spitfire duties from a fellow West midlander.

Thanks again Paul. So helpful. Blending string sounds has always been tricky for me. I confess, I was one to try and blend with EQ, pre delay, and reverb. Now I know why it wasn't working very well! I'm rebuilding a track that I have been struggling with for a while now. I think I can finally get it sounding better now.

Thanks Paul, very useful.

Really looking forward to see your template! Ive spend the last 3 days watching videos, editing my own, back and forth. Hard to decide what I really want. Im trying to separate the different libraries/sections in stacks but keep the stem-structure from the bbc template. But also separated in Hi short, hi long etc. (as the AR1F). It's not easy to manage all the outputs and stems doing similar things.

Thank you Paul, third time of watching this, so many little nuggets in this. My challenge was I’d sketched a track using Aperture 2 and had a really nice intimate start (chamber like) and as the idea developed the orchestra got bigger, but blending had me flummoxed. On the concept of small to big, how would you approach this, IF you don’t have the entire Spitfire collection to hand? I do have BBC,Abbey rd, and Appassionata, but I’d love to see a singular library approach, and how you’d go about it🤷‍♂️

This makes a lot of sense (and sounds great!) when using different libraries yet recorded in the same place and with the same mic set ups. How well does a similar approach work when blending libraries from different developers when there is less standardisation with the room and mics?

People (myself included oftentimes) definitely overthink this kind of thing. If it sounds good, it IS good. 99% of listeners won’t even understand any of this.

Nice tricks!

Hi Paul. This is a wonderful video. Very helpful . Thanx a lot. I have a question. I saw the Avid Artis Control. Is your wheel working in logic ? Because mine doesnt.

If I had almost 600 tracks on my computer, my computer would blow up in my face. .😂 I have the plan down to get a maxed out MacBook Pro later this year. 🙏🏾

I was pretty sure you'd post something like this hah. Great sounding stuff mate !I don't know if I'll buy those for the legato rather for the marcato-ish expression ..

The “microphone tip” is really so obvious when explained this way. I have typically tried to match stereo location but often have small issues with perceived distance/presence. I dug out my “old” Mural to see how it worked. Appassionata works extremely well in that situation just like demonstrated with the symphonic strings. It also reminded me of how good Mural actually is. I tend to forget about Mural as it does not show up in my player libraries and almost all my Spitfire Kontakt libs do.

Thanks Paul for this - again - very interesting video! My question is how do you manage the composing part of the job when using different layers? Do you compose everything in the same section, then splitting each part to the other sections? Or do you already know exactly where would each part be played, then create each section before even recording a single note? I know there is no absolute rule for composition. But if you can share your experience on that... Thank you & all the best from Belgium 🙂 🎶

Hey Paul! Thanks for this, awesome stuff as always. Can I ask which mic you're using to record your voice? I'm amazed by the clarity, given how far away it is from you. Sounds great. Cheers!

Hey Paul - quite wonderful string and orchestral libraries being produced again….you, Christian and the team are just so inspiring. A question….are you expecting to be releasing a new choir/choral library any time soon please…i.e. more affordable than something like the Whitacre offering!! Like many of us out here…really got the fingers crossed!

hello paul, please, could you help me? I see that you have done a demonstration combining symphony or chamber short with passionate legatos, without layering, my big question is, is it better like this? use one for shorts and one for legatos and balance volumes and match microphones? my idea was to add in layers, the first ones of appasionatta, with the 4 of chambers, and 1 solo of spitfire solo violin. and play them all together at the same time, 13 in total, which I don't know if I could do the shorts with appasionatta, couldn't it, right? I just bought the apassionatta and I haven't started working with it, that's why I ask you if I could or am I limited in that? Please, I would love to know your advice, a big hug from Spain.

I still think it's possible to refine these results, for instance, by matching positions in the stereo axis, which I think denounced the blending for me at least in the first example. But good one.

Which microphone are you using in this video dear Paul brother ??

What are XP2020 and XP2021 in your template?

GUI really really sucks ! super unreadable