Thanks Antti
Hi Bob, One day I will get around to writing a paper up on this...I am a trainee research academic after all, in fact I need to get some screen capture video software.
But I can give you some of the information you want, I use Notion 4 as my virtual orchestral instrument and score. It's very important to be able to write music fairly properly, and I say fairly properly because sometimes because of certain limitations, you need to be able to write around the rules...and it's even better if like me you're a guitarist and you have a guitar midi controller of some sorts to punch the notes in. And obviously you should know music theory.
I then bounce all the files out, and line everything up into Sonar. Depending on the quality of the sounds, I either use Waves Helios EQ or Waves Pultec, one day I will get around to getting some of the Abbey Road Waves stuff, I suspect these plugs will create an even better sound. The Helios EQ is great because it has the pre-amp section, and what this does is soften the transients-so sometimes when you get that uneven playing sound it smooths this out...making it sound more realistic.
Even if I use the Helios EQ, I will still put a Sonar Console Emulator plug over the top, even if I don't engage it. This is because of the rules, and the need to have it across every channel to make it work properly. I use the console emulator a lot on busses, and on the tracks where I've used the Pultec instead of the Helios.
Gain staging is super important, so whilst I'm doing the above two steps, I'm also setting the gain stage-either using the trim knob (this is what makes Sonar the best, and most unique program in the business...it works like an analogue desk), or the console emulator trim. Depending on the dynamic of the track or if I need some omph, I will also use the Tape emulator (one day I will get the Abbey Road one for point of difference-I do have the Waves Master Tape, and it is ****ing excellent).
I tend to use two types of verb, one is the close verb and one is the hall type and it tends to be convolution verb (I missed the 30 dollar Waves sale the other day...****). On the verb buss, I use tape and console emulation, and I like the Pultec EQ to set-up the EQ response...about 4khz for the top, and 80hz for the bottom. -18db RMS, depending on the sound I'm after...if it's the Bonham sound I'm after, then I of course go harder on the compression.
Depending on how many instruments of the same group I have, I sometimes buss, and again tape and console emulation for the gain staging, maybe a limiter. The Pro Channel buss compressor is pretty good for this...although I've just got another Waves special lol, the Fairchild for about 65 bucks Oz...so I'm stoked. Love this compressor, had the UAD one once...loved it.
Now here is one of the most important steps, I have Waves Doubler plug ;) lol, one day I will get the ADT plug based on the Abbey Road device of same name. But the Waves doubler acts a thickener, and also helps smooth the transients more. I've actually learnt a new trick with this, plug, and remember sometimes it takes a couple of years to learn how to use these effects...it's really like learning an instrument. But now I've started to put one of these effects on each string section i.e. violin, or cello. Meaning I can set the lows and highs sounds up better, in fact I've now created a new type of digital orchestral paradigm, one that can only be described as Space Orchestral Music...
https://soundcloud.com/aaudiomystiks/fughetta-1-reflections-of-love this demonstrates this idea. For this track, though I just created a buss for the double tracking, and fed the strings...not the wind instruments into this...then more tape and console emulation.
Mastering, is pretty normal, I use the Linear Phase EQ as my surgical EQ. Tape Sim for gain staging...don't worry if when your mixing it's going over into the red, because you gain stage it and with the tape sim...it evens out everything. I know, I'm breaking the "rules". No overs in the digital paradigm, it's bad. Actually this is rubbish, as long as you're not feeding the signal out of the box again...you have almost infinite headroom because of 64bitFP. More console emulation, then EQ, sometimes compression but mostly EQ after console emulation. Set the pro channel to pure...this is the mastering setting, and is brilliant. Watch how the track separates into lows, mids ect...this is important. I use Waves Hybrid Compressor as my main mastering compressor...I know this is becoming a Waves ad...but they work, and if you watch for the specials...I think I have about 1000 dollars worth of plugs no, and I've spent no more than 300 bucks. The Waves H-Comp is ****ing great for mastering, and this is after I spent two grand on a TLA2 outboard mastering compressor...what a chump, and what a waste. More gain staging before going into Waves Master Tape, and now I know how to use this baby...ahh it is sweet. Only took me two years to work it out...and what a barging it was for only 29 dollars US. I think it goes for 300 normally. Another Linear Phase EQ, to find the formant of the track...or to make the track go pop. Finally Concrete limiter and depending on track the bass boost.
For this track, I actually bounced it out at 32 Bit FP, and imported it into Reaper and varisped the ending, to help emphasise the ritardo. Then bounced it down to 16 bit.
I hope that helps Bob, as I say one day I will get around to writing this up, and publishing it with vids, at least on my website.
Cheers Ben