Recording - June 2019 - 57
Continued from page 54
used to take me maybe a week to put together,
something with all this stuff in it. And then sifting through and doing the mix on that, oh my
goodness. Who wants to do that? We're not mak-
"I think one of the biggest challenges
that we have to overcome is that
more is better."
-Matthew VanderBoegh
ing symphonic, major label stuff here, so now if
it takes me more than two to four hours... That's
my window of time to make a cue. And if it
takes any more than that, then I've got way too
much stuff going on. I've gone down rabbit holes
that I don't need to go down; I've fiddled too
much with knobs. I think one of the biggest challenges that we have to overcome is that more is
better.
details I add in after I've written the whole
track-all the swooshes, all the bangs and major
hits, that kind of stuff. Those are the ones I'll
spend more time tweaking, because I've got to
make them a little unique. I might need to add in
some stutter effect, things like that. But when I'm
doing the core of that piece, I know exactly which
hard drive has every one of those orchestral
instruments. Knowing your gear is a huge step in
the right direction.
Is it a fair statement for all of you that you've gotten faster? One of the obstacles is, "I'm not
tech-friendly"-I hear this frequently-and, "It's
so hard for me to figure this stuff out." But it had to
be hard for everybody in the beginning-Marcus's
story, Matt's story...
Marcus: You suck until you don't. If I want to
make six figures, I don't want to suck at this anymore. So the Internet is your friend. Everything
you need to learn is there.
But how do you keep your head in the game when
you are constantly feeling like you suck until the
day you get good enough that you don't suck
any more?
Marcus: Don't do that! It's because you want to
do it. You want to create that music, and you
have that drive. If you hated it, you'd be like ehh.
You've got to love the process. Because even
when you're not good at it, you still love the
process and figure out how to get good at it. And
usually when you suck, you don't realize it until
afterwards, right?
Read Part Four in next month's issue.
So this is my thought when I got started: I don't
want to make something simple, that's like cheating. Three tracks, no way. You've got to have 500.
I felt guilty for doing simple stuff. I just spent an
hour on that, surely I didn't do enough.
That brings up an interesting point that Keith mentioned earlier, which is knowing your sounds and
not spending time on each and every sound... But
that also plops an 800-pound elephant in the middle of the room from a creative perspective. Does
that stifle you? Is there a sameness? Is there a
homogenized sound that everything you do sounds
kind of similar, because you go back to the same
quiver of sounds?
Keith: But you don't. You've just got to know...
Like drums for example. Like a '60s drum set
compared to a '90s drum set, you're not using
the same drum kit all the time. But you've just
got to be aware that that '60s bass drum doesn't
have the click that a metal kick drum would
have. So you've just got to know those different
tones and everything. You're not using the same
stuff. Just write notes as to what and where they
are...
How do you organize the notes about what sounds
best and where you go to find them? Mentally, I
would imagine, over time you just don't even need
the notes. Do you just know?
Randon: For a lot of them. If I'm doing a big
hybrid orchestral track, I have got way too many
libraries-everyone that knows me knows. I
spend way more money than anyone should on
virtual instruments, but I know which ones I like.
If I'm doing some deep dark one, I know which
violins are going to sound dark versus which
ones are gonna sound bright. I know exactly
where I'm going for all that stuff. It's the little
RECORDING June 2019
57
Recording - June 2019
Table of Contents for the Digital Edition of Recording - June 2019
Fade In
Fast Forward
Focal Trio11 Be
Eric Loomis—From live sound to Ivy Hall
Test Tones & Metering
Handy Hardware
Cool Controllers
Stellar Soundware
First Look: KRK Systems ROKIT 5 G4
Vance Powell on mixing The Raconteurs' Help Us Stranger
Steinberg Cubase 10
Plug-In Outlet: Puremagnetik Plug-ins
Lynx Studio Technology Aurora(n)
Studio 101. Part 17: Studio controllers
Readers’ Tracks
Fade Out
Recording - June 2019 - Intro
Recording - June 2019 - Cover1
Recording - June 2019 - Cover2
Recording - June 2019 - 1
Recording - June 2019 - 2
Recording - June 2019 - 3
Recording - June 2019 - Fade In
Recording - June 2019 - 5
Recording - June 2019 - 6
Recording - June 2019 - 7
Recording - June 2019 - Fast Forward
Recording - June 2019 - 9
Recording - June 2019 - 10
Recording - June 2019 - 11
Recording - June 2019 - Focal Trio11 Be
Recording - June 2019 - 13
Recording - June 2019 - 14
Recording - June 2019 - 15
Recording - June 2019 - Eric Loomis—From live sound to Ivy Hall
Recording - June 2019 - 17
Recording - June 2019 - 18
Recording - June 2019 - 19
Recording - June 2019 - 20
Recording - June 2019 - 21
Recording - June 2019 - 22
Recording - June 2019 - 23
Recording - June 2019 - Test Tones & Metering
Recording - June 2019 - 25
Recording - June 2019 - 26
Recording - June 2019 - 27
Recording - June 2019 - Handy Hardware
Recording - June 2019 - 29
Recording - June 2019 - 30
Recording - June 2019 - 31
Recording - June 2019 - 32
Recording - June 2019 - 33
Recording - June 2019 - Cool Controllers
Recording - June 2019 - 35
Recording - June 2019 - 36
Recording - June 2019 - 37
Recording - June 2019 - 38
Recording - June 2019 - 39
Recording - June 2019 - Stellar Soundware
Recording - June 2019 - 41
Recording - June 2019 - 42
Recording - June 2019 - 43
Recording - June 2019 - 44
Recording - June 2019 - 45
Recording - June 2019 - First Look: KRK Systems ROKIT 5 G4
Recording - June 2019 - 47
Recording - June 2019 - Vance Powell on mixing The Raconteurs' Help Us Stranger
Recording - June 2019 - 49
Recording - June 2019 - 50
Recording - June 2019 - 51
Recording - June 2019 - 52
Recording - June 2019 - 53
Recording - June 2019 - 54
Recording - June 2019 - 55
Recording - June 2019 - 56
Recording - June 2019 - 57
Recording - June 2019 - Steinberg Cubase 10
Recording - June 2019 - 59
Recording - June 2019 - Plug-In Outlet: Puremagnetik Plug-ins
Recording - June 2019 - 61
Recording - June 2019 - Lynx Studio Technology Aurora(n)
Recording - June 2019 - 63
Recording - June 2019 - Studio 101. Part 17: Studio controllers
Recording - June 2019 - 65
Recording - June 2019 - Readers’ Tracks
Recording - June 2019 - 67
Recording - June 2019 - 68
Recording - June 2019 - 69
Recording - June 2019 - 70
Recording - June 2019 - 71
Recording - June 2019 - Fade Out
Recording - June 2019 - Cover3
Recording - June 2019 - Cover4
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