Effects in DP

[jonesmusic80]

I have several MIDI tracks routed to instruments tracks in my DP project. This music will be used in a documentary film.

Question - WHY do film composers use EQ, compressor, and other effects when mixing the final product? I understand why and how to use Reverb but I'm not sure about the other things.

What effects do composers use in DP, and why?

[HCMarkus]

I have several MIDI tracks routed to instruments tracks in my DP project. This music will be used in a documentary film.

Question - WHY do film composers use EQ, compressor, and other effects when mixing the final product? I understand why and how to use Reverb but I'm not sure about the other things.

What effects do composers use in DP, and why?

There are many books on the subject. I would encourage you to do some reading.

[MIDI Life Crisis]

That question is waaaaay too broad to answer here and not really in the scope of the board. Maybe someone will answer you, but HCMarkus is correct. If you don't know what those things are, and you want to produce your own scores to deliver for broadcast or theatrical release, you will HAVE TO know what you're doing or the entire work will be rejected. You can screw up an otherwise brilliant score, sound design, and mix by using these tools incorrectly.

Look up MASTERING SOUND, or better yet, try to take a course in it. Otherwise, tell the producer the tracks need to be sent out to be mastered. There are VERY specific guidelines pertaining to audio levels and formats that are acceptable. Stray from them and, again, your work will be rejected. If you print your tracks with these effects you may not be able to recover and the entire project will be useless.

Also, when posting, try to be VERY specific. Phrases such as: "WHY do film composers use EQ, compressor, and other effects when mixing the final product?" are so broad as to not encourage responses. There are so many options available and so many plugs from MOTU and other vendors that it's impossible to cover them all (or even a small percentage of them) in a "general discussion."

[mikehalloran]

Trying to put a lifetime of experiences and mistakes into a few paragraphs is not possible. Those who would try are not worth reading.

A much better question: I am interested in composing for film. Is there a book or course would you recommend to a neophyte to get up to speed quickly?

[daniel.sneed]

[...]I am interested in composing for film. Is there a book or course would you recommend to a neophyte to get up to speed quickly?

Well, you nailed it, Mike!

[Robert Randolph]

Trying to put a lifetime of experiences and mistakes into a few paragraphs is not possible. Those who would try are not worth reading.

A much better question: I am interested in composing for film. Is there a book or course would you recommend to a neophyte to get up to speed quickly?

So... what's your answer to that question then?

[MIDI Life Crisis]

Trying to put a lifetime of experiences and mistakes into a few paragraphs is not possible. Those who would try are not worth reading.

A much better question: I am interested in composing for film. Is there a book or course would you recommend to a neophyte to get up to speed quickly?

So... what's your answer to that question then?

Network.

[Mathematics]

WHY do film composers use EQ, compressor, and other effects when mixing the final product?

To make it sound great.

I understand why and how to use Reverb but I'm not sure about the other things. What effects do composers use in DP, and why?

You will not get an answer to this question without reading some text regarding "Mastering." I suggest a book called Mixing Secrets for the Small Studio by Mike Senior. This is the cheapest "beginner" book I can think of that will supplement what you know/don't know about mixing. This book also provides great information that will be your stepping stone to more advanced techniques that top mastering engineers use.

http://www.amazon.com/Mixing-Secrets-Sm ... 0240815807

Some composers double as audio engineers and the effects they use ITB, depend on what they have to work with. Knowing what reverb is and asking what other effects to use for mastering songs and why, is like knowing what a piano is and asking what other instruments a composer would use and why they would use those instruments. Each effect is like an instrument...you have to understand and learn to use it. It takes time and experience. No simple answer.

Other than DP, what have you used before? What is your studio composed of?

[BKK-OZ]

Mathematics,

That was a generous and thoughful post.

Instead of jumping to make a comment that was unconstructive and snide, you have shared some useful information. Thanks for being so positive.

I hope the OP appreciates your help, and I hope they come back here and post again so that they can learn more.

[monkey man]

Roey Izhaki's "Mixing Audio" ain't a bad place to start either, but some sections will seem to go on forever... like the compression one. It's a book that's worth persisting with until you get your head around it... then you keep it for reference.

Not sure if I spelled that correctly. Going from memory...

[mikehalloran]

Roey Izhaki's "Mixing Audio" ain't a bad place to start either, but some sections will seem to go on forever... like the compression one. It's a book that's worth persisting with until you get your head around it... then you keep it for reference.

Not sure if I spelled that correctly. Going from memory...

You remembered correctly.

http://www.amazon.com/s/?ie=UTF8&keywor ... ydcuvkif_b

Here's a thread on the subject with some more recommendations.

https://www.gearslutz.com/board/newbie- ... -read.html

I've never read a book on the subject so I can't recommend one.

The Izhaki book seems to be the mixing version of Rimsky-Korsakoff's "Principles of Orchestration", a book I did read in college as a textbook.

Such books are best read, absorbed and then kept in the background as you move forward. I never think of Rimsky nor would I ever defer to his outdated "Principles...". Otoh, I would never score, say a solo flute in its lowest octave against a brass choir for live, unamplified performance (it could work in a film score, however, through use of dynamic processing and eq). A book can't tell me how to make music but it can tell me that the dynamic range of a flute is dependent on its octave, useful info to a string and brass player.

[BKK-OZ]

+1 on Izhaki

Where has our OP gone?

[Phil O]

The book store?

[bayswater]

Roey Izhaki's "Mixing Audio" ain't a bad place to start either, but some sections will seem to go on forever... like the compression one. It's a book that's worth persisting with until you get your head around it... then you keep it for reference.

Thanks for reminding me. I have the book tucked away somewhere, and I'll have to find it. Reading through it now and then is good for you.

[MIDI Life Crisis]

I never think of Rimsky nor would I ever defer to his outdated "Principles...".

Those "outdated" principles are as valid today as they were then. How much actual orchestration do you actually do for a live, full symphony orchestra? They are the same general principles applied by Stravinsky, Williams, Adams, and Nelson Riddle. Sure, R-K was writing in a specific genre that has become more of a relic in 2015, but the PRINCIPLES OF ORCHESTRATION he used remain in effect. Berlioz wrote a great book on instrument specific technique. I suppose that's also obsolete? Not.