Simple Ways To Create A Cinematic Sound Using Eric Whitacre Choir, Albion One & More

hi this on my from Spitfire audio with another select sand and this one I'm attempting a cinematic sounding cue to talk about some of the elements he could use to help create ad with just a few patches and channels I've used five different libraries for this so I have the studio strings Studio brass Eric Whitacre choir handsome a piano and Albion one but for we sad let's listen to the track first [Music] [Music] [Music] [Music] so to begin with I was thinking about what elements could I used to make it sound cinematic so I started with some tries that I thought lend itself to being that category and I'm mostly used as a basis a D minor chord b-flat major C major and then in the intro also have G minor and then an a major I thought I played these chords as a swelling or seen a tune with some strings something you still hear very often in a score so within the spitfire studio strings which i've used here you have this austin adam function in there that lets you put in a sequence of notes so if you go onto this treble clef icon over here you get a Sonata view and then it lets you program in different note lengths I just went for straight eighths notes over here and what's great about this is that you can to each of these individual notes you can add a different velocity which have done created swelling sound and on also over here you have code mode which I activate it so rather than just playing individual notes I can play multiple at the same time [Music] so it's great to have done velocity option over here but I wanted to control it a little bit more so what you can do is if you go back to the spanner and then you select CC mapped velocity here well then automatically correspond with the dynamic fader which means now that I've selected that I can control the velocity further go back here we'll keep that velocity shape that are programmed in but I come I'm kind of just moving it around so just to demonstrate it so yeah that shape stays put but I can still control it a little bit more one other thing that I wanted to make sure of is that when I'm playing in the chords I didn't want to go over a certain velocity because it would have sounded too harsh for what I had in mind for this particular piece and to prevent me from doing so accidentally what's playing in contact and can go to automation go to MIDI automation and now because we've linked our velocity to the dynamic fader if you now go to the cc1 dynamics down here you have from percentage and a to percentage and a to percentage is usually on a hundred I've just turned it down to 80 that means if I now turn my dynamic fader all the way up I still have a little gap here that helps me to avoid going any louder than I wanted to with this so the strings themselves have been recorded in studio one of Lyndhurst air studios meaning they're locked dryer compared to the strings we've recorded in the hole they allow me now to have that punchiness and definition in there as well as adding my own reverb so when the piece builds up and more instruments are playing later on the ostinato isn't getting lost it's still nicely coming through and then I have selected a different combination of microphones I've got a close to microphone a tree and an outrigger and then when we get to the actual writing of it at the beginning when the ostinato is more prominent I'm trying to add little variations to the chords for movement seeing that I have space for it because later on when it gets busier it becomes less focused on ostinato so I'm straight up playing the triads [Music] so a bit of movement in the treads here and then no movement so that just serve more as a rhythmic element to keep the pace on the violence down here I have a lingering pedal note for suspension and then I added some cello and with that one I'm following the chords with mostly the root note but again I add variation to try and keep it more interesting in fluent playing different bass notes underneath the same chords nicely pulls it into a different direction later on over here I'm introducing the bass just doubling up the cello to just give it more depth [Music] as instantly a lot more weight to it so jumping over to the Eric Whitacre choir which has been recorded in the whole of our studios which can also find the now a standalone Spitfire plugin I'm using a dynamic swell really subtly also following the chord progression and it instantly opened up the piece for the bigger sound giving it a lot more depth already let's have a listen already makes a big difference then later on when I've built already with some other instruments I'm changing the patch to an open vowel [Music] [Applause] so you get a beautiful humming before opening up to the is adding the extra volume and to further build I'm introducing voices at the octave over here so now I have the typical string and choir combination that together with the chord progression gives me really that cinematic feel and I feel another element that can instantly do that and add to this as big Easter Island hits which I've borrowed from Albion one [Music] [Applause] [Music] I think they make a massive difference and really at that widescreen feel over here I have a handsomer piano you can find different patches within that one you have a percussive piano in there some various effects a full and bright sound and the one I've used is the super soft sound [Music] has a really soft and lovely tone complementing the peace in the background and you can also find a pad a nice option there which I've turned down just because I feel that it could imply something more intimate but what I'm trying to do is make this sound overall more grand so I've got this pending line and I'm hovering around the same node for fear of anticipation at the beginning which later turns into an appreciated phrase following the eighth notes pattern of the string Austin Adam [Music] once I played that one in I felt it could have more Drive and something that can help is it's a sine wave so I'm using the exs24 and just supports the baseline that I have so I'm just so I'm just following what I've played in with the cello in the bass [Music] I don't want to go overboard but when I have these cinematic low ends in there as well what I'm missing a feel if still a melody line abuse studio brass for that which also has been recorded in the same room as the studio strings certain naturally blend really nicely I've shared the melodies between the horns and viola so let's listen back to the whole piece with all of that in mind [Music] [Music] [Music] as well the other parts I'm slowly building with the melody throughout the piece here as well as I said earlier on the studio libraries you can add your own reverb which is what I've done with the lexicon I'm using a large hole B over here and then just turn that up to really drown it in reverb and I feel the reverb together with the other instruments that I've chosen like the choir for example just help making it sound really big in widescreen I think this is a good starting point to explore one of the many many ways they are to create at a cinematic sound and I hope this was somewhat helpful for you to build on that so yeah thank you for watching and hopefully see you next time

Channel: Spitfire Audio

Views: 138,234

Rating: 4.9507737 out of 5

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Id: XDROh7TssLE

Length: 16min 42sec (1002 seconds)

Published: Sat May 11 2019