• Matthew Walker


I can't think of anything else that I want to blog about right now, other than working with a digital orchestra. So much do I wish that I could share with you, what I've been working on - I'm really proud of the emotional depths that I've gone to, to produce something that really evokes a tone that is imaginative - putting you inside the head and mind.

This gif to the left, I love it. Two opposing forces, smashed together, creating something new, an amalgamation of everything before it. That's mixing, a process that I've grown greatly to love, and appreciate. This is where a piece is injected with heart, space, and texture.

I don't think I've ever been this excited to enter the mixing phase as I am right now. A symphonic score, that sounds big, brash, but so tentative and delicate too.



You've rendered out your stems. They're looking primed and fresh. Ready for some clarity. Ready to be mixed.

In what is soon to be my case, I'll be looking at almost 60 tracks (making up one piece) in some instances. These are the many 'ingredients' that are going to get us to that sweet cake. It's our job to balance them, use EQ to eliminate troublesome frequencies, boost some instruments, minimise others. Pan, delay, ambience - all these things, add greatly in creating a sense of space, and are vital.

The real challenge I'm faced with, is being lured to overcook it. This is where I crowbar in Uncle Ben...

The Uncle Ben line I'm actually referring to is "just because you can beat him up, doesn't give you the right to", this line follows the gif. Anyway, my point being - just because mixing is a stage to take advantage of, it doesn't mean you have to spend 5000+ hours going over and over and over each and every frequency like your life depends on it.

This is where using Spitfire Symphonic Orchestra is great. With the ambience of Air Studios baked into the performance, and at my disposal - I'll have a great opportunity to enhance something that is already great sounding... but not too much. This'll be a steady process, making sure that no instrument is pushed too hard, or too far. This'll be my operating theatre.

I'm reviewing this symphonic soundtrack as I'm typing, and I'm really happy with the themes, and the mood that is created from from piece to the next.

I only hope that my love for this work is shared.

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