For big orchestral mock ups, how do you guys use this console-like plug ins?

I never used real consoles, always working ITB, I get confuse about using single "VCC" or "VCC mixbuss" on every instrument Group BUS before hitting the master channel.

Do you put an instance of "VCC" in every single track (VL I, VL II, Va. CE, etc...) and then a "VCC mixbus" on every instrument section GROUP bus track (String Low BUS, Brass Low BUS. etc.)?
And finally another "VCC mixbus" on the Master?

Or you only place the "VCC mixbus" on the Master?

Do you place "VCC" on effects channel? (Reverb, Comp., etc.) or too much...?

Please share some set ups that work for you on big orchestral mock ups.

If you combine this plug in with any virtual tape, please, share your configuration, console types etc.

Thanks!

 

on orchestral stuff, i almost don't use any of this kind of stuff, i find myself destroying the dynamics of the elements so i try to stay away, i only use a bit (or alot) of eq, and rarely compression(when i can)...

i try only to use eq when needed...

orchestral is all about being natural and if you wish to apply any kid of processing try to keep it as transparent as possible...

 

I usually use single VCC's on group bus tracks if I were to use the same emulation which I mostly do, and VCC mixbus on the master, but after the VTM

I find myself using the RC-tube on single VCC's the most, but ofc this also depends on the rest of the mix

Sometimes I'll experiment with the VTM as an FX send on the group bus tracks, but really everything depends on the raw samples themselves and the eq and compression afterwards, which is also as subtle as possible if the samples are high quality

I haven't used the VCC on FX channel

E.g. I love Kush stuff for anything orchestral related
As for reverbs, I'll sometimes ''reamp'' the strings through strymon big sky, as it sounds better (to me) than most plugin reverbs
Also, I'll sometimes experiment with some elements of the orchestration going through strymon deco and use the tape saturation to give it a push and some other stuff, also depending on the rest of the mix and the vibe of the track overall

 

Last edited by a moderator: Jul 29, 2017

Thanks MrLyannMusic for the reply. I do epic trailer tracks...editors want big movie sound tracks.

mudworm43, Thanks for the reply. So, you don't place single VCC in every single track, right? just single VCC in every GROUP BUS track and then VCC mixbus on the Master, correct?

- Never tried Kush plug ins before, good to know!
- Interesting that you reamp strings through that strymon rev device. The demos sound nice.

 

Yup, because I usually end up using the same emulation if it were per single track e.g. horn, bassoon etc. which I would place under low brass group bus, so I simply apply it just on the group bus.

 

listen game of thrones intro. thats not transparent, compression used all over and i'm pretty sure it was written/produced itb. follow your ears, put whatever on the tracks/ busses

 

You dont need pumping, lol, of course there is some compression going on, the key is not to go overboard.

 

yep, they sucked at mixing, and at arranging too in my opinion heard better covers on youtube with violins or guitars

for this you will need for sure compressors on the percs/drums to get them punchy and on the others to get them loud and bombastic (where they ought to be) and to keep up with other sounds/noise from the movie itself.
at first try eqing and layering and then it's your decision if you use normal compressors or any kind of analog emulation (tape/valve...) if you think you need them.
to apply those on every single audio channel can be quite time (and cpu-) consuming so subgrouping and then fxing (I found a new word! ) is the procedure of my choice. for orchestral staff I mostly subgroup the subgroups too (violins & violas, celli & basses and those two subs -> strings, etc). so there are enough channels to insert whatever and how much you want.

 

Generally orchestral builds based on sample sets, such as Spitfire's many lovely libraries, already come seasoned and salted to perfection and require only the merest additional processing to glue the ensemble together. I'd be looking at using something very marginal, like Sonimus's Satson to add the very merest hint of generic console harmonics. Shoving it through a heavyweight console emulation will not enhance it much. A hint of console and a hint of levelling cmpression (optical compressor) would be my first stop.