An Introduction to DRAMEDY Music - STEMS

[stevebarden]

I love this post. Thank you for sharing your talent and knowledge, Steve. You are a true inspiration. I have never been to a Road Rally but I plan to go this year (not sure when it is) and hope to be able to say hello to you if you are there. (Maybe by then I'll actually have a cue that is being used!)

Thank you, Larry! Glad you enjoyed this. The Rally is Nov. 3-6 this year. Please make sure you say hi. Looking forward to meeting you.

Steve

[brunosantanna]

Hi, Steve!

Thank you for the tips! I started writing Dramedy cues now and I have a question.

When you do pizzicato layer do you choose a layer with mic far and another layer with mic close or do you use plate reverb on the bus?

Thank you!

Best!

[stevebarden]

Hi, Steve!

Thank you for the tips! I started writing Dramedy cues now and I have a question.

When you do pizzicato layer do you choose a layer with mic far and another layer with mic close or do you use plate reverb on the bus?

Thank you!

Best!

Hi Bruno,

Finding the right balance of room sound is always a challenge. I usually just use the stage mics. Close mics are too close and dry, surround mics are too distant sounding. Since most of this dramedy stuff is being used on reality TV, the music is often mixed waaaaay in the background. Too much reverb on the mix will make your mix end up sounding completely washed out - no distinction. Always test your mixes at a very low volume to see what comes through.

The other thing to think about when writing for pizzicato strings is avoiding having them sound robotic. Most libraries are perfectly-played performances and that translates to boring when they are up front and featured. I've been a fan of Project Sam's Symphobia pizz strings. They include round-robin performances that are a bit sloppy and that adds to the realism of humans playing the part.

[brunosantanna]

Hi, Steve!

Thank you for the tips! I started writing Dramedy cues now and I have a question.

When you do pizzicato layer do you choose a layer with mic far and another layer with mic close or do you use plate reverb on the bus?

Thank you!

Best!

Hi Bruno,

Finding the right balance of room sound is always a challenge. I usually just use the stage mics. Close mics are too close and dry, surround mics are too distant sounding. Since most of this dramedy stuff is being used on reality TV, the music is often mixed waaaaay in the background. Too much reverb on the mix will make your mix end up sounding completely washed out - no distinction. Always test your mixes at a very low volume to see what comes through.

The other thing to think about when writing for pizzicato strings is avoiding having them sound robotic. Most libraries are perfectly-played performances and that translates to boring when they are up front and featured. I've been a fan of Project Sam's Symphobia pizz strings. They include round-robin performances that are a bit sloppy and that adds to the realism of humans playing the part.

Thanks, Steve!

I'm going crazy with the pizzicato reverb and marimba / vibes. I usually use LASS and Albion Strings. I'll search on and Symphobia!

Thank you!

Best

[shoodBworkin]

Good stuff!

[jdkotaska]

Hi, Steve!

Quick question: Do you master your dramedy tracks? How about the stems?

Thanks.

[stevebarden]

Hi, Steve!

Quick question: Do you master your dramedy tracks? How about the stems?

Thanks.

Hi Dean,

I don't really "master" my tracks. I just try to be consistent with my levels. The publisher may do their own mastering so all the tracks from various composers have a similar EQ and loudness across the board. I wouldn't worry about it too much. Just give yourself some headroom at the top to avoid any kind of distortion. Especially for dramedy I would not overly compress the tracks either.

As far as "alt" mixes go, I treat each mix as if it's the master mix with various tracks muted so they sound consistent. If an editor chooses to switch between two or more of your mixes the levels need to match exactly from one to the other. Stems - or individual tracks - is a different story. This gives an editor complete freedom to mix your cue to their desire. It makes them the mixing engineer.

Hope this helps.

[jdkotaska]

Thank you, Steve. That actually helps a lot. This entire thread is very informative and I'm sure I'll be able to use your sound advice when the time comes. Thanks for all of the information, as well as your timely response.