# Orchestral Mixing: Spitfire (a live mixing course)



## aaronventure (Jun 15, 2018)

Hey everyone!

I'd like to announce the release of my "*Orchestral Mixing: Spitfire" *video course.

So you have your Spitfire Audio libraries and they sound great, you're just missing that expressive solo trumpet, prefer a different horn patch or you recorded one or more players in a smaller, dry room and want to blend them all with your favorite hall sound? You don't believe you can achieve great mixes using only software and <$200 headphones?

*Then this is a course for you.*

It's not an "Inside the mix" type of thing where I open a session and talk about things.

Instead, I show you my process, no secrets. We start the mix from scratch - with audio stems of all the instruments exactly as they were exported from Kontakt - and move from there. I approach this the same way I approach all my other mixes.

If you use the same libraries and repeat my every move, you'll get the exact same sound in your template.

Most of the mix was done on Audio Technica ATH-M50x - a popular and very affordable pair of headphones - along with Sonarworks calibration. *I want to show you that you don't need incredibly expensive equipment to pull off great mixes. *I also want this to be affordable to as many people as possible - every single one of you deserves to have their music sound as good as it possibly can!

I check the final mix and do the master on my main monitors simply because I trust them more, but you can still hear all the changes happening.
________________

You can get the course here with the coupon code VICONTROL for a limited 50% off. It brings the price down to $15 for for $30. If you don't have a lot of experience mixing, you're going to get so much from this! You'll have no doubts about reverb use in library matching, as well as room design for completely dry instruments like Sample Modeling, and you'll see how I approach balancing the mix to create a desired sound.

Any questions are welcome. Enjoy the course!

If you're not satisfied with the course or think the stuff in there it wasn't worth your money, you can get a full refund, no questions asked.

*UPDATE: *Upon enrollment, you will get a download link for the course in 1080p, since Udemy's 1080p streaming might or might not work for you.

*UPDATE 2: *Introductory pricing offer has expired!


----------



## kimarnesen (Jun 15, 2018)

Awesome, just purchased! Is it possible with a bonus / extra material with the composer showing his microphone settings in the libraries that were used? I think it's a big part of the mix, especially with Spitfire libraries.


----------



## aaronventure (Jun 15, 2018)

kimarnesen said:


> Awesome, just purchased! Is it possible with a bonus / extra material with the composer showing his microphone settings in the libraries that were used? I think it's a big part of the mix, especially with Spitfire libraries.


Thanks! You'll definitely get your $15 out of it! I exported all the microphone positions at 0.00dB individually and I dial in the initial mic mix in the _Lesson #2 - Setup_. I did some changes throughout the session as necessary, but the main "room sound" that I adjusted all the other non-Spitfire libraries to was mostly set up right there at the beginning.


----------



## John Busby (Jun 15, 2018)

just purchased too
look forward to seeing what you got! especially interested to see how you're using Slate's stuff


----------



## aaronventure (Jun 15, 2018)

johnbusbymusic said:


> just purchased too
> look forward to seeing what you got! especially interested to see how you're using Slate's stuff


Can't live without the blue stripe. I'll sometimes (often) slam whatever's going through and reduce the mix down to ~10%. And the EQs are wonderful. And the consoles. And the VBC. And


----------



## tav.one (Jun 15, 2018)

Bought it just by reading the description, couldn't play the intro as wife is sleeping (the only reason I was able to make a purchase at 3am). Looking forward to this.


----------



## Silence-is-Golden (Jun 15, 2018)

is there a way to get it without (yet another) email subscribing data, etc, etc......?


----------



## aaronventure (Jun 15, 2018)

Silence-is-Golden said:


> is there a way to get it without (yet another) email subscribing data, etc, etc......?


You don't have to sign up with your real name, or your "official" email. If you pay via PayPal, your payment data should be safe.

However, if you lose the email, you won't be able to access the course. If that happens, you can just email me the receipt and you'll get your access back. 

I guess you can create a new email just for this purchase. If you're sure you won't forget the password, you're good. You can pay with any PayPal account, it doesn't matter if your user email is not the same as your PayPal email (official response from Udemy support).


----------



## wbacer (Jun 15, 2018)

Looks great Aaron, seat belt safely fastened and ready to roll.


----------



## Sunny Fable (Jun 15, 2018)

Interesting, will probably get it.


----------



## Iskra (Jun 16, 2018)

I'm in! Hope the offer is still valid for a week, as I'm out of town! :emoji_minibus:...


----------



## aaronventure (Jun 16, 2018)

Iskra said:


> I'm in! Hope the offer is still valid for a week, as I'm out of town! :emoji_minibus:...


Don't worry, it will be valid at least until July 15th.


----------



## Josh Richman (Jun 16, 2018)

Signed up. I’ve always been curious if people use slate plugins with orchestral stuff. Plus I’m a Spitfireaudio user so this is no brainer.


----------



## Consona (Jun 16, 2018)

Bought. I don't use Spitfire libs, but seeing how you mix them with Sample modeling stuff in more than 5 hours course for €15 is more than enogh for me.


----------



## Garry (Jun 16, 2018)

I see that you're using Reaper - I'm sure that the principles are generalisable, but as a Logic user, will I find much of this difficult to follow, and be frequently asking, 'yes, but how would I do this in Logic?'


----------



## aaronventure (Jun 16, 2018)

Garry said:


> I see that you're using Reaper - I'm sure that the principles are generalisable, but as a Logic user, will I find much of this difficult to follow, and be frequently asking, 'yes, but how would I do this in Logic?'



I do some multichannel mixing in a single track for the Sample Modeling stuff because Reaper can do it with ease, and I didn't want to blow it out into 3 different tracks for each instrument, but that's generally it. I used VCAs for setting up the mic mix, so if Logic doesn't have them, you can always just select multiple tracks and do it that way or whatever works for you.

Adding inserts, some automation (I think I did volume in certain moments by cutting the audio clip where I wanted to reduce the volume and then crossfaded back into the original - just a habit from before automation items were a thing in Reaper. 

It's not a template-building course (where all the nerdy stuff comes into play), so you should 100% be good.


----------



## thov72 (Jun 16, 2018)

were the subtitles done by a computer programme??


----------



## aaronventure (Jun 16, 2018)

thov72 said:


> were the subtitles done by a computer programme??


Yes, Udemy has auto-generated subtitles. I think they turned out well, but when it does mess up, it completely misses the point, haha 

If you have any trouble figuring out what I said at a certain moment, send me a message and I'll gladly explain.


----------



## Ninth Lion (Jun 16, 2018)

Bookmarked for later! I'm sure I will be able to learn a lot from this course.

Sorry for the noob question, but is it necessary to export everything to audio stems before you start mixing and correcting for room positioning? Or is it possible to do this while they are still midi tracks? Do you experiment with trial effects or reverbs while writing, then bypass those when exporting the stems? Or do you prefer to leave that process for afterwards instead?


----------



## aaronventure (Jun 16, 2018)

Ninth Lion said:


> Bookmarked for later! I'm sure I will be able to learn a lot from this course.
> 
> Sorry for the noob question, but is it necessary to export everything to audio stems before you start mixing and correcting for room positioning? Or is it possible to do this while they are still midi tracks? Do you experiment with trial effects or reverbs while writing, then bypass those when exporting the stems? Or do you prefer to leave that process for afterwards instead?


Nothing be to be sorry about.

I can just barely run my template real-time with all the processing. Sample Modeling + ~45 instances of Altiverb make for quite a CPU hit. I really, _really_ didn't want any audio dropouts in the course (I even do some freezing, but I edited the video to shorten it, some freezes, especially with B2, took more than a minute) and to account for the screen capture CPU usage, I thought it was simpler to just print it all out. I normally mix inside my projects, and only freeze individual patches I load in if there's a call for them (EVOs, an odd aleatoric effect, if I want a different library to take just that one line, etc.). 

Whenever I mix someone else's track, this is pretty much how it looks like, though.

If I'm experimenting with reverbs, I'll definitely do it inside the project.


----------



## Ninth Lion (Jun 16, 2018)

aaronventure said:


> .


@aaronventure Thank you for your response.

I can see that when working with a very large template the CPU load would add up very fast. (Especially when making a video, that becomes a critical factor.) I'm nowhere near that level yet, so that consideration slipped my mind haha.

I was asking mainly because I come from a notation software background, and DAWs are still weird and scary to me. So I wasn't sure if there was a right or a wrong way to do those sorts of things.

Some good advice in there - I shall remember it. ^_^


----------



## aaronventure (Jun 16, 2018)

Ninth Lion said:


> @aaronventure Thank you for your response.
> 
> I can see that when working with a very large template the CPU load would add up very fast. (Especially when making a video, that becomes a critical factor.) I'm nowhere near that level yet, so that consideration slipped my mind haha.
> 
> Some good advice in there - I shall remember it. ^_^


Perfectly understandable!

There's no such thing as a noob question. If you run into any puzzles, don't hesitate to shoot me a message.


----------



## kimarnesen (Jun 16, 2018)

aaronventure said:


> Yes, Udemy has auto-generated subtitles. I think they turned out well, but when it does mess up, it completely misses the point, haha



And some funny moments like “so let’s begin with listening to the wrong track” :D


----------



## aaronventure (Jun 16, 2018)

kimarnesen said:


> And some funny moments like “so let’s begin with listening to the wrong track” :D


That's just my accent/pronunciation, the poor robot is not at fault :D

I'll do manual captions, but it might take some time. 

By the way, the project stems are now also available in the course.


----------



## Divico (Jun 17, 2018)

Just started watching it. I like what I am seeing so far. 
I´d reccomend you to use the VCA grouping option instead of using MAster and Slave.
That gives you another layer of volume control and you get rid of situations like the one where you had to set the gain on your VCAs to -14.


----------



## aaronventure (Jun 17, 2018)

Divico said:


> Just started watching it. I like what I am seeing so far.
> I´d reccomend you to use the VCA grouping option instead of using MAster and Slave.
> That gives you another layer of volume control and you get rid of situations like the one where you had to set the gain on your VCAs to -14.


I'm glad!
And yes, the habit got the better out of me  . VCA Master/Slave in Reaper is definitely a better option for volume control.


----------



## axb312 (Jun 17, 2018)

I own just one Spitfire library - will this help me?


----------



## aaronventure (Jun 17, 2018)

axb312 said:


> I own just one Spitfire library - will this help me?


Which one?

If not for blending libraries, you can learn a number of other things as I put the mix together.

If you don't learn anything new and don't get your $15 worth of information, you can get a full refund, no questions asked.


----------



## CoffeeLover (Jun 17, 2018)

Vittu saatana! 
i need to watch this on my tv instead on my 13 inch laptop!
I thoroughly enjoyd the course even though i dont see everything youre doing 
but ill watch it again
thank you sir!


----------



## aaronventure (Jun 17, 2018)

CoffeeLover said:


> Vittu saatana!
> i need to watch this on my tv instead on my 13 inch laptop!
> I thoroughly enjoyd the course even though i dont see everything youre doing
> but ill watch it again
> thank you sir!


No, thank you! As I've said multiple times now, if anything wasn't clear, just ask.


----------



## Divico (Jun 18, 2018)

axb312 said:


> I own just one Spitfire library - will this help me?


I dont own any of Spitfires libs yet :D but still I think I am learning something.
@aaronventure Is it possible to increase the quality of the stream (above 720p)?


----------



## aaronventure (Jun 18, 2018)

Divico said:


> I dont own any of Spitfires libs yet :D but still I think I am learning something.
> @aaronventure Is it possible to increase the quality of the stream (above 720p)?


You're reading my mind. I contacted Udemy support about it yesterday and am still waiting for their reply. I'll give them a couple more hours and if they aren't able to provide it, I'll upload the original 1080p files with 1400kbps audio and share the link to all new, as well as enrolled students.

Quite unfortunate, and I'm sorry for that (first time dealing with Udemy). Anyway, one way or the other, everyone will definitely have access to 1080p files within the next 8 hours.

Thanks for your patience.


----------



## Consona (Jun 18, 2018)

aaronventure said:


> Anyway, one way or the other, everyone will definitely have access to 1080p files within the next 8 hours.
> 
> Thanks for your patience.


Great to hear that!


----------



## Divico (Jun 18, 2018)

aaronventure said:


> You're reading my mind. I contacted Udemy support about it yesterday and am still waiting for their reply. I'll give them a couple more hours and if they aren't able to provide it, I'll upload the original 1080p files with 1400kbps audio and share the link to all new, as well as enrolled students.
> 
> Quite unfortunate, and I'm sorry for that (first time dealing with Udemy). Anyway, one way or the other, everyone will definitely have access to 1080p files within the next 8 hours.
> 
> Thanks for your patience.


Good news. Hq is realy important in this kind of tutorial imo


----------



## axb312 (Jun 18, 2018)

aaronventure said:


> Which one?
> 
> If not for blending libraries, you can learn a number of other things as I put the mix together.
> 
> If you don't learn anything new and don't get your $15 worth of information, you can get a full refund, no questions asked.



Olafur Arnalds Chamber EVO. Tough to quantify what exactly 15 USD worth of information is but I'll give this a shot...Thank you for doing this! 

If I may say so, I think the 15-20 USD price range is just right and should stay....


----------



## aaronventure (Jun 18, 2018)

Unfortunately, Udemy doesn't support 1080p by default. It is enabled as Auto Quality by instructor's demand and will only trigger if it decides the student's internet connection is strong enough. I don't like the idea of leaving it to chance and some people getting a degraded experience because software decided their connection isn't fast enough, so I'll keep my word.

1080p download is live. Everyone who enrolled should have the link in their e-mail, and new students will get it when they enroll.

All students can find the link in the "Announcements" section.

Once again, sorry for the inconvenience.


----------



## aaronventure (Jun 18, 2018)

axb312 said:


> Tough to quantify what exactly 15 USD worth of information is but I'll give this a shot...Thank you for doing this!
> 
> If I may say so, I think the 15-20 USD price range is just right and should stay....


If at the end you're thinking you could've instead seen a movie or had a couple of beers, I'll give you your money back 

You're welcome. I agree about the price range. I don't think my next classes will be priced differently. I will always want them to be very affordable.


----------



## Consona (Jun 18, 2018)

Downloaded the 1080p version. Way way better experience. Thx.


----------



## aaronventure (Jun 18, 2018)

Consona said:


> Downloaded the 1080p version. Way way better experience. Thx.


Sorry you had to wait so long, won't happen next time :D


----------



## synergy543 (Jun 19, 2018)

Hi Aaron, nice mix and its interesting watching your process. I have a few questions I'd like to ask. Maybe others might be interested as well. However, please ignore if you don't want to address some.

Who's piece is this?
Assuming its yours, how did you balance the orchestration as you recorded it without having instruments in place during the recording process?
Is there a score? 
Can you tell us a bit about how it was composed and recorded? 
Why do you use so many duplicate instruments with both Spitfire and other dry libs together? 
It appears you recorded all dynamics without instruments in place or with ambience adjusted and you're doing all of this in post? 
Why do you make adjustments to each instrument at such a low volume?
How are you referencing the placement of where each instrument goes? Obviously, if you shifted them around even just slightly, they would sound drastically different. So how did you come up with your placement recipe?
As you make adjustments to each individual instrument and its ambience, how are you keeping track of the overall balance between sections?
Why do you not need to make any dynamic or volume adjustments as you go? Were these all recorded perfectly from the beginning? (Nice balance btw).

Sorry if these are answered in the videos, I haven't finished watching everything yet but I'm sure I'll have many more questions as well. Hope this is OK and thanks for sharing.


----------



## aaronventure (Jun 19, 2018)

synergy543 said:


> Who's piece is this?


It's mine. I posted it here some time ago. This is a mix from the template.




synergy543 said:


> Assuming its yours, how did you balance the orchestration as you recorded it without having instruments in place during the recording process?
> Is there a score?





synergy543 said:


> It appears you recorded all dynamics without instruments in place or with ambience adjusted and you're doing all of this in post?


It was produced within a set up, balanced template. For the purpose of this mix, I reset the entire thing, and exported all mics and outputs at their default volume. I wanted to show how I approach volume mixing and frequency equalization from the ground up.

You can look at this course (setting up the volume) also as setting up a template. You load in your libraries, you dial in a piece from a score (John Williams or something you know is natural and there's a score available for) and rely on dynamics, not your ears, and then you balance it until it sounds like the recording. If you used the exact same libraries and routed your microphones to outputs and then did the same thing I did here, your template would sound exactly like this.



synergy543 said:


> Is there a score?


Sadly, no.



synergy543 said:


> Can you tell us a bit about how it was composed and recorded?


Here's what I wrote in a different post:

_I initially wrote the rhythmic motif. Then I wrote the melody. I was then just playing around with the melody, coming up with different harmonizations and versions. I wrote the finale version (just chords and melody). Then I wrote everything in between. I aimed for this piece to be around 4 minutes, and to have at least one pass of the B side, so that's how I decided on the structure. I think it's important to have an idea of what your structure should be, if not at least a blurry picture of it. Fully planning it out from the start could be ungrateful, though, as I never know where composition will take me. I usually write a melody, play around with it, write different variations, then think about what do I want to do with the piece, and decide my rough structure based on that. I can often imagine how it ends and once the finish line is in sight, it's not as scary anymore.

https://www.dropbox.com/s/jjekwyq9m9m4n24/TDomM%20piano.mp3?dl=0 (Here's the piano version.)This is the final version of that sketch. Beside harmony not being complete throughout the piece, It's missing the buildup/bridge and the finale lacks all the arpeggios and counterpoint. I have a hard time really expressing myself on a piano in a way that comes across clear to someone else. I'm sure you can hear everything I meant now that you've heard the mockup first; the other way around would've been a completely different story.

However, as I was writing it, the whole final sound was already clear in my head, I just had to go through orchestration to figure out exactly what it all was. So practicing orchestration on all fronts was another reason to go through the entire palette.

I knew I was starting with solo piano which would then get colored with mallets and/or harp. I changed mallets dynamics/overall color every 8 or 16 bars. I also knew that the first melody statement was in strings. Initially just first chairs, then the sections behind them became louder for every part of the melody, and horns coming in for the fourth part.

For the tingly upper runs it was obvious what it was, there was no question about that.

So now we've heard strings, a short horn line, running woodwinds with low string pizz - what's gonna take our next melody pass? What with the range I played it in, brass was an easy and obvious choice here. Also during composition I felt I could start twisting the melody just slightly here. Then came the B side and I knew I wanted to go to forte here at the point between A and B. I just followed the ranges. I kept changing the focus between instruments/sections here a lot, as I wrote this part in a call and response way. I also paid a lot of attention to rhythm dynamics, keeping the rhythm present and clear all the time, while still changing the rhythm colors along with the melody.

The bridge/buildup was what I did at the very end. I kept making it more complicated than it had to be. I did a few versions, none of which ultimately worked. Then I just did the most simple thing I could imagine and I liked it. The finale is just your FF finale. Hits every 4 bars, low instruments keeping the backbone of rhythm, opposite arpeggios for cellos and bassoons, taikos along the counterlines. Horns, violins, flutes and then trumpets playing the melody, everything else doing either harmony or counterpoint (violas doing both)._



synergy543 said:


> Why do you use so many duplicate instruments with both Spitfire and other dry libs together?


If you're asking about using different samples of a same instrument at different times, it's because some libraries can take some lines better than others. Some shorts, to me, sound better than the others.

If you're asking about doubling; well, sometimes doubling up a line can make it sound better (celli in the finale, for example.) The Spitfire Bassoons were simply unable to do that fast arpeggio well. Berlin Flute was able do do that first line and a half better that the Spitfire Flute, and I preferred the Spitfire Flute from that point onward. Hardly "realistic", but we're doing virtual stuff, anyway. The "feel" of it is in the performance first, and then sound. Sound is something you can fix. Nobody will say "he doubled up his cellos here!". Damn if I wouldn't double up my live orchestral recording with samples if it made it sound _better_.

Listeners will will notice if celli suddenly sound very different, or the horns sound very different (like, the imaging moves, not just the tone, and that's why we have to mix it down. And once we do, you can use any library you want with any other library you want. You're after the instrument, not the integrity of using a single set of recordings (which is what samples ultimately are) and relying on that to provide cohesion. If the recordings (samples) are unable to pull something off, I'll just go right ahead and take whichever ones _can_ pull it off. I think people don't do that because they think they'll break cohesion, and yes, if you went from raw Spitfire a6 Horns to Adventure Horns, it would be blatantly obvious, even your average Joe would spot it.

However, in the course I do naughty things to Adventure Horns so that, in the mix, you can only tell the difference if you're familiar with both libraries and know exactly what to listen to. Play it to your average Joe and he won't hear it, even after you tell him that they're different samples recorded in a different room.

The idea of the course is, along with seeing my mixing process of a set of stems from start to finish, to see that you can, without (m)any problems, mix and match any two libraries. Then mix that with any other combination and make it sound cohesive. Personally, if horns suddenly became more present, it wouldn't throw me off. In a live recording, if the music called for it, I would automate close mics to add detail when necessary. What would definitely throw me of is a shaggy, unmusical line, left in the mockup because going for a different library that can pull it off would "break cohesion" (and as I said, that's something you can fix).



synergy543 said:


> Why do you make adjustments to each instrument at such a low volume?


I mix with plenty of headroom. Volume wasn't very low here (Scarlet's headphone amp can be really nutty, and my cans have a 36 Ohm impedance). I think I increased the master volume a couple of times simply so that it could be heard more easily on quieter systems. But I eventually didn't mess with it too much, because this wasn't a TV show, I wanted to show the entire process as it is—much like you wouldn't color-grade a color grading course. Turn up your volume, I think you're safe until the final lesson where I add just short of 6dB to hit -16LUFS.

_cont._


----------



## aaronventure (Jun 19, 2018)

synergy543 said:


> How are you referencing the placement of where each instrument goes? Obviously, if you shifted them around even just slightly, they would sound drastically different. So how did you come up with your placement recipe?


Listen to orchestral recordings a lot. Pay attention. Know how microphone techniques work and what effect it has on the sound. As you've seen in the course, VSS2 has A LOT of mic setup simulations. You can try out some in their free trial. Load up a mono sample (solo violin or whatever, and then run it through VSS2. The GUI will let you just drag it and move it around the space. You can get an idea of how each one sounds.

For this mix, in my head I referenced the sound of The Lord of The Rings soundtrack—slightly more filled out bottom, edge taken off of the highs with detail still present.

And ultimately, spend _a lot_ of time just messing around and trying out different things. It just comes with experience. I do this stuff almost every day, and have been for years (not always orchestral music, but that's even what I value even more because I have a bigger perspective). I really cut the positioning short for you, because, like I said above, if you copy the course click for click, you'll get the same sound. You can then write your own pieces in that template. And if something sounds wrong, it's not the mix, it's probably your orchestration :D

Prior to stem export, nothing was processed (I might have fiddled with some EQ-ing for EVOs/textures, but I don't think so).



synergy543 said:


> As you make adjustments to each individual instrument and its ambience, how are you keeping track of the overall balance between sections?



It's like breathing to me. That's the part of this you can't learn by reading and watching. You just have to do it.

In terms of ambience, just try to imagine it in the hall. Imagine the space before you. Then imagine telling each individual player where they have to move. That's essentially what I am doing.



synergy543 said:


> Why do you not need to make any dynamic or volume adjustments as you go? Were these all recorded perfectly from the beginning? (Nice balance btw).


Beucase (I like to think) my orchestration was good. And, as I've said, it was performed into a balanced template. Thanks!



synergy543 said:


> Sorry if these are answered in the videos, I haven't finished watching everything yet but I'm sure I'll have many more questions as well. Hope this is OK and thanks for sharing.


Not only is it okay, it's encouraged. I'd love for everyone to ask me to clarify anything that isn't clear, and for everyone to go home with new knowledge and tools in their pockets. Asking publicly like you did is good because someone else might find answers to questions they didn't even know they had.

Then, if text just isn't doing it, hit me up, we'll set up a Skype call and I'll do my best to help you out. I don't even have to emphasize that it's free, you've bought the course, nothing more I can ask of you than to let me clear any doubts you have, then go and make some kickass-sounding music, using 50 different libraries if you think you have to :D

I would suggest you post these exact questions to the course (separate could work too, for better formatting and readability), and I'll just copy my answers from here, so that they're easily visible to all current and future students.

These were all fantastic questions, thank you for asking.


----------



## kimarnesen (Jun 19, 2018)

aaronventure said:


> Unfortunately, Udemy doesn't support 1080p by default. It is enabled as Auto Quality by instructor's demand and will only trigger if it decides the student's internet connection is strong enough. I don't like the idea of leaving it to chance and some people getting a degraded experience because software decided their connection isn't fast enough, so I'll keep my word.
> 
> 1080p download is live. Everyone who enrolled should have the link in their e-mail, and new students will get it when they enroll.
> 
> Once again, sorry for the inconvenience.



I don't think I've received the e-mail.


----------



## aaronventure (Jun 19, 2018)

kimarnesen said:


> I don't think I've received the e-mail.


You can find it under "Announcements". Also visible from the main course page "Overview".

If anyone didn't get the email (check spam), you'll find the announcement on the course page. If you still can't find it, send me a message on Udemy.


----------



## kimarnesen (Jun 19, 2018)

aaronventure said:


> You can find it under "Announcements". Also visible from the main course page "Overview".
> 
> If anyone didn't get the email (check spam), you'll find the announcement on the course page. If you still can't find it, send me a message on Udemy.



Thanks, found it at Udemy.


----------



## synergy543 (Jun 19, 2018)

Aaron, thank you for the very in-depth answers to my questions. There is a lot to think about and digest in there! I really appreciate this also as it will make watching the rest of the videos that much more valuable. I'll post the questions later over at Udemy as you suggest.


----------



## kimarnesen (Jun 19, 2018)

@aaronventure, I was especially interested in the mic settings of Spitfire, and I wonder: Do you try to simulate how a real orchestra is positioned, or do you just think what sounds nice and works well without any special "rules"?


----------



## aaronventure (Jun 19, 2018)

kimarnesen said:


> @aaronventure, I was especially interested in the mic settings of Spitfire, and I wonder: Do you try to simulate how a real orchestra is positioned, or do you just think what sounds nice and works well without any special "rules"?



I only had to do positioning for the modeled stuff. Standard orchestral seating today is pretty much how the Spitfire Orchestra is positioned. I wrote this piece for a full orchestra, with the standard seating in mind so that's how I positioned the instruments. 

If you mean how much of a close mic I used at times, this is where taste also comes in mind. I like some perc more close mic'd than other. Even though it's in the back of the room. The rest dialed in according to their position.


----------



## robgb (Jun 19, 2018)

Congrats. Looks great!


----------



## asinclaire (Jun 23, 2018)

This looks interesting. 

Are the stems available with the course?


----------



## aaronventure (Jun 23, 2018)

They are.


----------



## thevisi0nary (Jun 28, 2018)

Bought a few days ago, going to watch tomorrow. Thank you!


----------



## Miklós Vigh (Aug 29, 2021)

@aaronventure - is it still available on Udemy?


----------



## Kalli (Aug 30, 2021)

Miklós Vigh said:


> @aaronventure - is it still available on Udemy?


I’m wondering this too!


----------



## muziksculp (Aug 30, 2021)

EDIT: No it's not available


----------



## Trash Panda (Aug 30, 2021)

muziksculp said:


> Yes, it's still available.
> 
> https://www.udemy.com/course/orchestral-mixing-spitfire/


Shows as a private course that requires a password to view.


----------



## muziksculp (Aug 30, 2021)

Trash Panda said:


> Shows as a private course that requires a password to view.


Oh.. Maybe that's because I have purchased it a while back. I might be wrong then, but why would it not be available if I have access to it ? 

I will try to logout and search for it.


----------



## Kalli (Aug 31, 2021)

muziksculp said:


> EDIT: No it's not available


Too bad. But thanks for checking!


----------



## Miklós Vigh (Aug 31, 2021)

muziksculp said:


> EDIT: No it's not available


Got it, thanks for checking.


----------

