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Post by Johnkenn on Feb 25, 2019 19:59:10 GMT -6
I'm mixing something for a video (didn't realize it until she tells me the "director" made a request...) and they're on a beach...it's a group of singing people...but wouldn't there really be NO reverb?
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Post by ragan on Feb 25, 2019 20:02:10 GMT -6
I'm mixing something for a video (didn't realize it until she tells me the "director" made a request...) and they're on a beach...it's a group of singing people...but wouldn't there really be NO reverb? Are there any reflective surfaces around?
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Post by Blackdawg on Feb 25, 2019 20:02:18 GMT -6
Nah you can make it whatever you want it to be.
Unless they are having you mix to film you have no context. So just mix the music as you normally would.
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Post by mulmany on Feb 25, 2019 20:03:37 GMT -6
No reverb.You would have some early reflections, but sands pretty dead.
Are they thinking beach boys type thing?
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kcatthedog
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Post by kcatthedog on Feb 25, 2019 20:04:54 GMT -6
Depends, if there are surfers, then, for sure, gobs of verb and just call the guitarist Dale!
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Post by Johnkenn on Feb 25, 2019 20:06:50 GMT -6
It's a Bollywood video...lol No kidding. It was described as the dancing on the sand...I would think it would be dry as hell, but I think they're looking for kind of a slight stadium thing. I'm trying the "Front Yard" preset from Nimbus...
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Post by drbill on Feb 25, 2019 20:37:18 GMT -6
It's a Bollywood video...lol No kidding. It was described as the dancing on the sand...I would think it would be dry as hell, but I think they're looking for kind of a slight stadium thing. I'm trying the "Front Yard" preset from Nimbus... The Re-Mixing engineers will put more / different reverb on it depending on the scene and how it's fitting with picture. I wouldn't go heavy on it even if the director requests it. It will almost certainly get more and/or different verb during the dub - and you don't want to box yourself in too much into a corner. I'd mix it how it sounds best to you. Worst case, print a separate reverb stem with their requested wetness so that they get "your mix" (dryer) the way you want it, and another stem with reverb which they can mix in @ unity for the "stadium" sound they want. Do that and you're safe from both directions.
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Post by johneppstein on Feb 25, 2019 21:20:51 GMT -6
I'm mixing something for a video (didn't realize it until she tells me the "director" made a request...) and they're on a beach...it's a group of singing people...but wouldn't there really be NO reverb? Probably, unless there was a cliff somewhere nearby. But sometimes you don't want to be TOO realistic...
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Post by johneppstein on Feb 25, 2019 21:22:17 GMT -6
Depends, if there are surfers, then, for sure, gobs of verb and just call the guitarist Dale! That's not really reverb, it's surf 'n' spray!
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Post by chessparov on Feb 25, 2019 21:42:16 GMT -6
And make sure that reverb sounds VERY grainy! Chris
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Post by reddirt on Feb 25, 2019 22:56:06 GMT -6
Dr Bill has it in one. Cheer, Ross
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Post by the other mark williams on Feb 26, 2019 0:41:30 GMT -6
You should mix in a shit ton of wind, too.
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ericn
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Post by ericn on Feb 26, 2019 7:45:15 GMT -6
Give the director what he wants, like Bill said it will probably end up with something stamped all over it but if your delivery a mix it is always easier to add in re- recording than take it off!
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Post by swurveman on Feb 26, 2019 8:28:42 GMT -6
Depends, if there are surfers, then, for sure, gobs of verb and just call the guitarist Dale! Or bikinis.....
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Post by Ward on Feb 26, 2019 8:31:36 GMT -6
Bollywood???
Reality doesn't matter!! Go full-on stadium and even throw in some short slap for bouncing off the non-existent concrete walls.
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Post by kcatthedog on Feb 26, 2019 9:00:17 GMT -6
Reverb reality : what a concept !
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Post by adamjbrass on Feb 26, 2019 9:21:34 GMT -6
Just photoshop a Laptop into the video. Then you can mix on the beach with reverb.
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Post by drsax on Feb 26, 2019 9:59:42 GMT -6
I’d say just mix it to move the listener emotionally. I personally wouldn’t mix for the environment in a case like this
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Post by Blackdawg on Feb 26, 2019 10:09:28 GMT -6
^^^Exactly.
If its a music video, just mix it like music. Period. You aren't the Rerecording mixer in this case if there will even be one for this.
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Post by Johnkenn on Feb 27, 2019 15:03:55 GMT -6
I’d say just mix it to move the listener emotionally. I personally wouldn’t mix for the environment in a case like this Not really my call, though. My client is bringing back critiques from the Director. So I asked the Director to give me an example of what he's looking for...because there's no reverb on a beach.
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Post by drsax on Feb 27, 2019 16:01:51 GMT -6
I’d say just mix it to move the listener emotionally. I personally wouldn’t mix for the environment in a case like this Not really my call, though. My client is bringing back critiques from the Director. So I asked the Director to give me an example of what he's looking for...because there's no reverb on a beach. gotcha... well no reverb it is then
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Post by drbill on Feb 27, 2019 22:42:19 GMT -6
I’d say just mix it to move the listener emotionally. I personally wouldn’t mix for the environment in a case like this Not really my call, though. My client is bringing back critiques from the Director. So I asked the Director to give me an example of what he's looking for...because there's no reverb on a beach. If the director is that naive, then the remix engineers will give him an education when he gets to the dub stage. OR, perhaps he just wants something stylistically "stadium-esque". Either way works conceptually if he's shooting in the abstract. If the song is intended to be a source cue or a live band playing on the beach, then obviously he's misled or inexperienced. If it's just a montage song, then anything goes. It can be a symphony, a gregorian chant, or dubstep. It's all conceptual. Not necessarily literal. Don't get hung on literal unless you're LOOKNG at live musicians in the scene. Be prepared to remix it at the last minute if you want to keep it in the film. Or better yet - send them a directors mix and a normal "john" mix. Or better still - STEMS - with the mega verb on it's own stem. That way you will quite possibly dodge a bullet and be able to keep your song in the film when the remix engineers say "W T $#@$%" on the stadium mix, and instantly request music that's not so drenched. OPTIONS!!! Or Stems. That's the best way to keep your music in a film. Personal experience speaking here.... I've been on well over a hundred dubs, and music gets thrown out for things much more insignificant than reverb. I've had dozens of placements just because : a.) I was there. b.) I had music on hand ready to drop in that was NOT wrong or controversial and it didn't annoy anyone. Film Dubs - they are a political, logistical creative landmine waiting to explode....
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Post by Quint on Feb 27, 2019 23:03:56 GMT -6
Not really my call, though. My client is bringing back critiques from the Director. So I asked the Director to give me an example of what he's looking for...because there's no reverb on a beach. If the director is that naive, then the remix engineers will give him an education when he gets to the dub stage. OR, perhaps he just wants something stylistically "stadium-esque". Either way works conceptually if he's shooting in the abstract. If the song is intended to be a source cue or a live band playing on the beach, then obviously he's misled or inexperienced. If it's just a montage song, then anything goes. It can be a symphony, a gregorian chant, or dubstep. It's all conceptual. Not necessarily literal. Don't get hung on literal unless you're LOOKNG at live musicians in the scene. Be prepared to remix it at the last minute if you want to keep it in the film. Or better yet - send them a directors mix and a normal "john" mix. Or better still - STEMS - with the mega verb on it's own stem. That way you will quite possibly dodge a bullet and be able to keep your song in the film when the remix engineers say "W T $#@$%" on the stadium mix, and instantly request music that's not so drenched. OPTIONS!!! Or Stems. That's the best way to keep your music in a film. Personal experience speaking here.... I've been on well over a hundred dubs, and music gets thrown out for things much more insignificant than reverb. I've had dozens of placements just because : a.) I was there. b.) I had music on hand ready to drop in that was NOT wrong or controversial and it didn't annoy anyone. Film Dubs - they are a political, logistical creative landmine waiting to explode.... Bill, I don't work in these type of film circles but have a ton of curiosity about how they work. From what I've gathered by reading your posts, there seems to be a desire for songs which aren't TOO unique but just enough. I don't mean that as a slight, so please don't take it that way, and feel free to educate me on the subtleties. How do you go about, and what is expected, in your line of work, as far as song creation is concerned?
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Post by drbill on Feb 27, 2019 23:37:53 GMT -6
If the director is that naive, then the remix engineers will give him an education when he gets to the dub stage. OR, perhaps he just wants something stylistically "stadium-esque". Either way works conceptually if he's shooting in the abstract. If the song is intended to be a source cue or a live band playing on the beach, then obviously he's misled or inexperienced. If it's just a montage song, then anything goes. It can be a symphony, a gregorian chant, or dubstep. It's all conceptual. Not necessarily literal. Don't get hung on literal unless you're LOOKNG at live musicians in the scene. Be prepared to remix it at the last minute if you want to keep it in the film. Or better yet - send them a directors mix and a normal "john" mix. Or better still - STEMS - with the mega verb on it's own stem. That way you will quite possibly dodge a bullet and be able to keep your song in the film when the remix engineers say "W T $#@$%" on the stadium mix, and instantly request music that's not so drenched. OPTIONS!!! Or Stems. That's the best way to keep your music in a film. Personal experience speaking here.... I've been on well over a hundred dubs, and music gets thrown out for things much more insignificant than reverb. I've had dozens of placements just because : a.) I was there. b.) I had music on hand ready to drop in that was NOT wrong or controversial and it didn't annoy anyone. Film Dubs - they are a political, logistical creative landmine waiting to explode.... Bill, I don't work in these type of film circles but have a ton of curiosity about how they work. From what I've gathered by reading your posts, there seems to be a desire for songs which aren't TOO unique but just enough. I don't mean that as a slight, so please don't take it that way, and feel free to educate me on the subtleties. How do you go about, and what is expected, in your line of work, as far as song creation is concerned? Quint - some random thoughts as they come to mind.... These days, most songs are "licensed" and not created for the film. Of course, there are exceptions. Especially with huge artists who "write a song for the movie" where both record company and film company can multi-market alongside each other. But for normal source cues, on the car radio cues, band playing in a bar cues, film montage cues, wedding band cues, TV montage songs, etc., the songs are sought out and licensed by a music super rather than "created for" the film by a composer. Of course, the score is a different topic altogether. Unique is OK. Of course, the more abstract, the less options you will have for licensing, but unique IS OK. If you write a song about Aliens, don't expect a lot of placements other than apocalyptic, end of world, Aliens are eating humans type films. heh heh You've painted yourself into a corner. I do not generally aspire or desire to write in typical top 40 or super current musical styles. Why? Because often, those trends come and go and are dated almost before you can get them placed. Evergreen songs can last decades. For instance - a great bluegrass song could be placed in a 1940's film, or 2019 film. The genre is "kind of" timeless. Kind of. Of course there are differences, but often EQ or some analog processing can put the song in either 1940 or 2019. A great Hip Hop song is fairly timeless as well - hip hop has spanned a wide timespan - and the production esthetic is not RADICALLY different for most listeners. Genre's that are not constantly changing in and out of style are a good place to aim. On the flip side of the coin - Dubstep or Bro Country or radically auto-tuned vocal songs are going to time stamp the song / music for eternity and it will be almost unusable once the genre becomes passe. (And none of us can control that) The HUGE exception of course is classic songs that have become known and loved worldwide - of which most of us here other than DonR cannot accomplish. Don's (Don't Fear) The Reaper is a great example. IMO, that's a pretty unique song. But it's a classic, and as such, paints a picture that hundreds of thousands of fans (and even non fans) can relate to. Classic songs bring back memories for the listener, and that is where the gold lies. Huge sums of money are happily spent for a Frank Sinatra or Zeppelin or Beatles song. HUGE. Unfortunately, if the world doesn't know your song and lyric from memory, you are in a different licensing world altogether. <sigh> For music with lyrics, getting too specific or too detailed can be a detriment to placing it many times. If the lyric is all about "Mary Anne", and the lead character in the film is "Jennifer"....well...sorry, no sale. However, if your lead character is Mary Anne.... SCHWING!!!!! If your song has specific and intimate beach lyrics and the film is shot in the desert.... No Sale. There are constant human emotions though that are undeniably transcendent no matter if you're 15 or 50. That's where the money is. Make everyone FEEL something, and you're in the zone. Don't be too specific. Hit a wide variety of people.
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Post by Johnkenn on Feb 28, 2019 0:41:44 GMT -6
Not really my call, though. My client is bringing back critiques from the Director. So I asked the Director to give me an example of what he's looking for...because there's no reverb on a beach. If the director is that naive, then the remix engineers will give him an education when he gets to the dub stage. OR, perhaps he just wants something stylistically "stadium-esque". Either way works conceptually if he's shooting in the abstract. If the song is intended to be a source cue or a live band playing on the beach, then obviously he's misled or inexperienced. If it's just a montage song, then anything goes. It can be a symphony, a gregorian chant, or dubstep. It's all conceptual. Not necessarily literal. Don't get hung on literal unless you're LOOKNG at live musicians in the scene. Be prepared to remix it at the last minute if you want to keep it in the film. Or better yet - send them a directors mix and a normal "john" mix. Or better still - STEMS - with the mega verb on it's own stem. That way you will quite possibly dodge a bullet and be able to keep your song in the film when the remix engineers say "W T $#@$%" on the stadium mix, and instantly request music that's not so drenched. OPTIONS!!! Or Stems. That's the best way to keep your music in a film. Personal experience speaking here.... I've been on well over a hundred dubs, and music gets thrown out for things much more insignificant than reverb. I've had dozens of placements just because : a.) I was there. b.) I had music on hand ready to drop in that was NOT wrong or controversial and it didn't annoy anyone. Film Dubs - they are a political, logistical creative landmine waiting to explode.... I appreciate your responses! Truth is, this is nowhere near as prominent as that. I think this must be a dude with a tiny budget and just flexing his muscles. Regardless, I sent her like 5 different selections and she was happy and thought one would work. We will see!
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