Lección 7 de 16Producción musicalIntermediate

Stems y reverb

Aprende todo sobre los stems y observa cómo Goetz usa los stems en este proyecto en concreto. Goetz también explica el uso de la reverb, el hardware y el software.
Parte del cursoMezcla para bandas sonoras de cine y TV16 lecciones (1h 36m)

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Goetz BotzenhardtTu gurúGoetz Botzenhardt

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16 lecciones (1h 36m) · 1 gratis
    • 01. Cómo usar a la vez imágenes de película y audio en Pro Tools

      19:52

    • 02. Importar una grabación orquestal - conceptos clave

      8:10

    • 03. Stems y reverb

      Estás aquí

      8:51

    • 04. Añadir más partes a la mezcla: elementos percusivos

      4:33

    • 05. El proceso de mezcla

      6:35

    • 06. Dinámica y rides de fader

      3:08

    • 07. Repaso de todo el trabajo de mezcla de Goetz en esta banda sonora

      5:02

    • 08. TAREA #2: CREA UNA MEZCLA

      0:40

    • 09. DESAFÍO #1: MEZCLA PARA CINE

      0:55

Transcripción de la lección

Music Lesson: Stemming and Reverb Techniques

Now, I'm going to talk about the stemming a little bit more again, because now we can see we've got:

  • An orchestra
  • A piano
  • The solo string players (violin, viola, and cello)

It would actually be quite nice to have all those on separate stems. So I'm just going to change my mind up here and:

  • Put our solo strings onto my soloist stems.
  • Root them to "solos direct."
  • Root the piano to our music stem.

Adjusting Reverb for Solo Strings

I've already added a little bit of reverb here to the solo string players. This reverb is from the string orchestra stem. Therefore, I really don't want the reverb for my soloist now to send to that stem. If I did, the reverb of the soloist would crop up on the string stem, which is not right.

So, I'm going to have to change that and select the solos reverb down here.

  • Checking the level again: There we go! That's a nice amount of reverb.

Key Thoughts on Reverb

Generally, I'm a big fan of the TC6000, especially because it has a lovely program called Large Warm Hole. This program is considered an industry standard for orchestral reverb and is one of the favorite programs that many engineers around the world use, simply because it sounds really great.

Now, probably most people at home won't have a TC6000. However, what most people do have is a convolution reverb. I use A1, which is called Space, an Avid product. Another popular option is Ultiverb.

All these convolution reverbs will likely have, under different names, a copy/clone of what goes on in here.

On my Space reverb, there's a setting called Under European Sound that I can dial up, which gives me a similar sound.

  • Large Wormholes: Select that, and it should sound very similar to what goes on in here.

Now I have my string reverb back, but this time it's actually down here on the solo stem.

Checking the Signal Flow

Let's double-check that:

  • If I solo my strings up here, my solo strings should only show a signal on:
    • Our solo stem buses
    • Our solo stem track
    • The full mix and fold down

Looking good! Silent everywhere else, that's what we want.

Adding Reverb to Spot Mics

We might want some reverb on the spot mics of the orchestral strings. I'm just going to put that there and send it to our TC, probably with a little bit less on the double basses.

Don't forget to put the follow main pan on!

I'm just going to create a group for these spot mics so I can control the reverb all in one go.

Fine-Tuning the Mix

If I play, we should see some action on our string bus and also on our string reverb.

  • Checking down here: It's coming onto our string track and string stem record track and doesn't crop up anywhere else, that's crucial.

Blending the Mix

Now I'll quickly blend these two together. You may not have heard this, but I just noticed a little click. Many times, orchestral sessions are done in a hurry with a lot of material to get through.

Often, the recording engineer doesn't have time to edit the takes together the way we would like.

We can see there's a little edit that hasn't been faded, so I'm just going to pull that out and create a little crossfade. Hopefully, that will eliminate the click.

Using the Multi Tool in Pro Tools

I'd like to show how I did this. I actually like using the Multi Tool on Pro Tools. If you hit F6 and F7, this Multi Tool becomes active, allowing all three of these fields to turn blue.

This tool changes to suit what you need depending on where you place it.

  • For example, if I start at the beginning, it allows me to adjust the length.
  • If I go to the top, it allows me to create a crossfade.

If I go between two sections, the fade tool comes up again, and all I have to do is drag it across like this, it's very handy!

Final Thoughts

It's always worthwhile to look quickly at the editing of the recorded material.

  • Make sure things are edited nicely, with no extra bits of noise at the end of takes or in between takes.

For instance, there's another edit here we can see.

Things like this do not belong in our mix, so just get busy and edit that out.

I'm going to quickly get rid of this and also check that the front is clean.

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Goetz Botzenhardt

Goetz Botzenhardt

A principios de los años noventa, Goetz Botzenhardt se formó en los Swanyard Recording Studios, asistiendo a productores de primer nivel como Flood, Alan Moulder y Tom Lord-Alge, y se curtió grabando y mezclando a las bandas de dance y acid jazz de los 90: Incognito, Galliano, Soul II Soul y muchas otras.

En Swanyard conoció a Rollo Armstrong y ambos formaron rápidamente una asociación creativa que dio lugar a muchos grandes discos de dance y remezclas y, poco después, a la grabación y mezcla de los dos primeros y aclamados álbumes de Faithless y del multiplatino 'No Angel' de Dido.

Moviéndose entre géneros, grabó y mezcló el álbum debut de las Sugababes, 'One Touch', incluido su primer éxito 'Overload', y ha mezclado para The Cardigans, Bjork, The Cinematic Orchestra, Craig David, los Pet Shop Boys e Hikaru Utada, una de las artistas de más éxito de Japón.

Más recientemente ha ampliado su trabajo al cine y la televisión, colaborando ampliamente con los compositores Christian Henson, Martin Phipps y Anne Nikitin, y mezclando la banda sonora de Daniel Pemberton, nominada a los Globos de Oro, para 'Steve Jobs', dirigida por Danny Boyle. Al margen del cine, produjo 'Closer to the People' de Tanita Tikaram, mezcló temas para Sigala, Ella Eyre, Breton, Planet Funk y Tito Jackson, y en 2016 mezcló el álbum de Peabo Bryson con Jimmy Jam y Terry Lewis. Una lista completa de su trabajo está en sus páginas de discografía y filmografía en goetz-botzenhardt.com.

Goetz trabaja desde su propio estudio y sala de mezcla, construidos en torno a una consola SSL E4044, monitorización surround Adam 5.1, un sistema Pro Tools HDX de 48 canales y equipo outboard selecto. En sus cursos te lleva al interior de esa sala para mostrar cómo mezcla en dos mundos muy distintos: en Mixing for Film & TV Score, cómo equilibra y da forma a bandas sonoras orquestales e híbridas al servicio de la imagen; y en Mixing Commercial Pop Music, cómo construye mezclas de pop contundentes y listas para la radio desde la multipista.

Goetz Botzenhardt
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Frank Doll
Katie Melua
Ed O'Brien
Imogen Heap
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