Preston Melton

My First Mixdown Using Digital Performer and EW Composer Cloud

Posted on 2016-08-25

So, here is my first mixdown using Digital Performer and East West Composer Cloud.  It took a while with the user guide open on one window, and DP on another, but I finally was able to figure out how to add reverb and how to mixdown to WAV file.  Whew!

This is also for my first commissioned work, so it has been quite a trial by fire to get this done.  I used EW SPACES convolution reverb set for Hollywood Sound Stage Epic.  I’m sure there are many nuances to discover, and I look forward to loads of constructive feedback.

This is a small sample of themes I’ve written, to make sure the director and I are of one mind regarding the music.  This is for a short, dramatic work.  There will be revisions once I have a locked picture to score, but the director wanted to hear some thematic samples.  Please enjoy!




6 thoughts on “My First Mixdown Using Digital Performer and EW Composer Cloud

  1. Ok. EW/CC has their convolution reverb, Spaces, which I’ve been trying to use. I’ve spent a lot of time reading the manuals and watching how-to videos on YouTube. The elusive bit was how to insert ‘Spaces’ onto an Aux Track. All the literature/videos talk about what to do after you insert it, but never explained (or demonstrated) how this was actually accomplished in the first place. I was looking in ‘mixing board’ mode, trying to figure it out. I noticed a slide bar on the right side of the window. I rolled the scroll wheel, and WOW! the whole board moved down, to reveal the INSERT BOXES at the top of the mixing board!! So, THREE MORE CLICKS, and I had ‘Spaces’ inserted onto my aux track. Developing Story – to be Continued…

  2. I like it , i think it sounds really good.

  3. I really enjoyed it 👍 If I may make some suggestions:

    1) You could use a longer reverb tail (or space, or make an adjustment to the EW Spaces decay setting), around the 4.7s mark is the sweet spot, though some mixes can take up to 6.0s reverb decays, whilst others need to be around 3.0s

    2) I am not positive, but I think I am hearing phasing on your tracks. If so, this is likely because you are joining the “convoluted” with the original signal in your mixing path somewhere. It could be that you have SENT amounts of each of your tracks to a EW Space hosted on a bus, and than both the original DRY signal is joining up with the EW Space’s bus’s WET signal. Only, that is not how you use Convolution Reverb. The convolution process creates “time smear”, and when you recombine it with the original signal will cause phase cancellations in a non-linear fashion across the frequency spectrum … what we call “comb filtering”. Instead, what you want to do, is set the OUTPUT of your tracks to the INPUT of the Convolution reverb BUS and set the OUTPUT of that bus to the MASTER. This ensures that 100% of the original signal goes through the Convolution Reverb (which then emits the sound output onto a recorded stage with dry signal) and that 0% of the original signal is getting back around to the MASTER to mix together in an ugly way with the Reverb bus’s output.

    1. Thanks for the info about the sweet spot. I will make that adjustment.

      As far as the convolution reverb, I absolutely understand what you are saying, and that is what I want to do. I am still learning DP, and could not figure that out when I was mixing at 4am this morning. I will get back into the book today. I think DP calls it a bundle, if I’m reading in the right section of the manual.

  4. So, here’s a snippet of the feedback I got from the director: “I like the quality of the music very much. You have great skill at creating the orchestral sound for a musical score.”

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