Christian's intro: Hi there! Christian Henson from Spitfire Audio here... Paul's intro: Hi there, this is Paul Thompson from Spitfire Audio... Homay's intro: Hi, this is Homay from Spitfire Audio... Dan's intro: Hi, my name's Dan Keen. I'm a composer, producer, and musician based in London. Welcome back to my RU-vid channel. I hope you're all doing well...
Dan loves a plug in, and that’s lucky for us because this has really made me think differently about applying effects blindly, just because that’s what people say you should do. Less is definitely more in this case, cheers Dan
Dan, great video as always. Thank you. Quick question on Seventh Heaven. I have the standard version and as much as I adore the sound, I find that it can affect my stereo instrument placement by bringing everything back into the centre. In other words, diminishing the stereo width. Have you noticed this in the Pro version?
there is nothing specific i do always and i call it interesting. What is really interesting i do one single time because it is made for some single situation. But i use to create a minimal feedback loop on reverb bus for ex., and combine convolution with algorithm reverb and compression. These hacks are nothing far away from the basic theory of mixing still…But to find the exact plugin chain and settings for a specific genre in your music or something like this , this would be for me the “hack”. I investigate my reverb code so to say , but the theory is not that hard: algorithm, convolution, track revert, bus reverb, long vs short reverb busses, or one single “room” reverb, and all plugins can be out before or after the reverb, with or without side chain. I also use the Tal reverb as a “pad”, as a floor for the room reverb that doesn’t affect the articulation. You can also pan is to make it audible , or expand the image of this one to the side, and leave the main reverb more for the middle.other hack would be to get sophisticated but with a simple technique, so i use one bus only, and control just the amount of sends. Important is to keep energy for the ears and for perception , and to not create factors that make an orchestral mix obscure to figure out when something goes wrong. For piano solo one has more time ;) Finally a nice thing i discovered is to mid-side the reverb , reinforcing the wet for the highs jn the side, and dry for the middle. There is so much to do, it is about mixing the reverb and understanding it it one of the most important mixing parameters, principally for film , mockup, and classical….
Hi Dan, just wanted to say please keep on with your video concept for YT. Always great to watch your videos. Also I wanted to tell you what a great job you have done on the Appassionata Strings. Absolutely fabulous! This brings me to the next point. In one of your videos you asked about what videos your audience would like to see. Well I’ve got two ideas for you: 1. Please make a tutorial video about your piece for Appassionata Strings. In depth explanation about what the different strings player are doing and why. 2. Still waiting and hoping for your in depth review about the new MBP. You said to all of the people want to buy one “don’t fear” but honestly it would be great to see your machine in a orchestral context and how it’s dealing with multiple tracks and fx. So far thank you for all
I suggested an auto-ducking reverb plugin in the comments section here, but the post was deleted. So I guess you folks will have to research that yourselves.
Rarely these days, not because they're not great - they are - it's just a workflow thing really. I might make a video at some point about getting more out of stock plugins
