Studio Time Special: Tomb Raider (Part 3)

[@markolijus]

Dear sir, everything that you have shared with us in all the video's is pure gold. To let us into your home, you studio, show us your work process and equipment is beyond generous ( for this type of generosity someone should invent new word)! THANK YOU !

[@palitolitola]

Tom , the result of your generosity is something that I’ll take forever within me . Learnings to my whole life. Thank You !!!

[@nero008]

Hey Tom what is the job of your assistant composers ? Can we get a episode about them ?

[@davidandronicomusic]

would love to know this as well.

[@Fyrlink]

god yes

[@theRyanStrong]

+1 here

[@antonisfakiris505]

I was always fond of the music in Films and I wanted always to learn about the process of making from the scratch one Film Score and you Tom with your tutorial videos made it possible!! Kind regards,

[@ZZ-sn7li]

I'm not a musician at all, but it's so pleasant to watch!

[@ZZ-sn7li]

And listen, of course :)

[@gabrield.cstoica1832]

Tom I want to thank you for this video tutorial because it is what interested me the most in particular, to know that we passed the most imporant to the orchestrator, stems, mix session ... really thanks... in my case because I work for my first film ... that's great to know from you that I have to go to the orchestrator and everything else. Greetings from Spain.

[@MythixMusic1]

Really enjoying these as usual. One of my favourite scenes in the movie is when Lara goes underwater for that short period and the score plays this amazing synth. On one hand, it sounded totally random, but then at the same time it just fit so well. I love hearing fresh, innovative sounds like this. Last cue of recent times that impressed me was the casino fight scene in Black Panther. Good stuff, Tom!

[@maphilak]

Thank You Junkie XL, much respect from Swaziland Africa

[@TwstedTV]

Its so awesome that you pass some of your knowledge on to others who are upcoming & want to be movie music producers. I have so much respect for you because of that. you share your valuable time with others and you are always grounded. Much love to you :)

[@thomasnielsen7229]

Always wondered the mix process between the creative writing stage, live recording, stem consolidation, and final mix before dubbing stage. very helpful to get the entire walkthrough from beginning to end,.

[@benjaminsilliman8]

Awesome! thanks for going through the stem process.

[@edmasters4454]

Thanks Tom - really enjoying this series and learning a lot!

[@davidefant3045]

Awesome!

[@jn5912]

Tom is a genius.

[@DestroyER82]

Awesome cue!!! Absolutlely love it. I feel some little similair vibes that Matt Uelmen used for his amazing works on Diablo 1/2 games.

[@davidandronicomusic]

Thanks so much for the great videos Tom!

[@AlexanderKhanukhov]

Great video, awesome, but, could you please talk about the sends , the output of those sends, does it go with the stem? And the levels, please talk about the levels. Thank You!

[@SCOREWIZARDSMUSIC]

Sweet drum fil...DOOGADISSSH!!!

[@dutchufo4real72]

Great Tom, nice to see the tempo increase first 80 and then at timeline 120 it shifts up to 130 to keep tracked, thanks for sharing all your amazing information. Cheers en Happy Easter, fijne paasdagen. Groet, Ray (Floatwithme)

[@catface]

spooky indeed and fantastic! feels like swimming in ocean of sounds :)

[@mgrizzello]

amazing, as always! thanks for this episode! greetings from berlin! nice easter-time! ciao MG

[@PeteCalandra]

Thank you. Can you please do an episode where you co over resampling Kontakt sample libraries? I saw the one that you made about resampling older hardware sampler libraries. Is this the same process you do with Cinematic Strings?

[@JacopoMazza]

petercalandra very interesting topic!

[@bradleylinemihler]

thanks for this Tom..this is so intresting

[@leibweiss]

Very cool

[@itsadamjosh]

Thank you for this. I wish all composers did this.

[@ChristianIce]

Yes. Yes. Wait, pause, I'll get a beer and come back!

[@drewcollier1138]

Hecking right that you’ll need a beer to sit through forty minutes of droning and SFX.

[@PspiralifeTutorials]

Is this for a tomb raider movie or a video game? Im very interested to see the images also. Thanks

[@MichelSchallenberg]

Hey Tom, could you maybe talk a bit about the recording process with an orchestra? How to get it tight with the click etc.

[@KM-tv5km]

Thanks Tom!!!

[@santiagovalenciamusic]

Thank you so much! I’m loving your vids.

[@hemanttembhurne7221]

There's a whole lot of work, sessions and sittings going on between you and musicians working on the score, as this is a extensive process, how do you manage the schedule and the sittings ? And is there any assistant involved in the process in your case?

[@simonpoole2352]

What do you use the Bass VI on?

[@1andriks]

Thank You!

[@CarillonAudioVid]

When can we hear you play that sweet Bass VI sitting behind you for the past 3 episodes? Are you working that into some upcoming scores?

[@orchestralmadhouse2810]

Hey Tom, when it come to your orchestral arrangements, how do you go about finding the right chords for a certain section in a cue. Do you play out the whole structure on piano before translating into the orchestral instruments. Saby

[@WilliamMorrisMusic]

The drum roll in your intro came out as "studio time with Jewish Junkie XL" on the subtitles. Was really confused as I had my monitors muted at the start.

[@darbyorr]

Thx Tom for another informative video! Question: On your stems, each recorded track is not a full linear recording from the start of the cue till the end, but instead it's broken down into pieces. Are you relying on time stamps for proper placement? I know visually it's much easier to see what is actually playing when the parts are in pieces but are there ever issues with stem pieces not being put in the proper location? Thanks again!

[@redplanetdunes]

How you do to mix with all those tracks without clipping?

[@EclipseSound]

Did not even know theres a new Tomb Raider movie.

[@yonghan5737]

midi key Brand？

[@only4posting]

Question 1: once you get your orchestral pieces recorded live, are you going to edit them, eq, compression, etc etc, and even apply plenty of effects ? Question 2: because the orchestral recordings are much better, more dynamics, more everything, will the 'mixing guys' have to take it into account, and will, ex, reduce levels, do some Eq, etc, so it can fit better in the whole mix ? Question 3: at the end, all the top orchestral sample libraries, no matter if they were recorded in 32 bits and 384khz with a 50 million $ hardware, are they that bad, compared to the live recordings, that recording everything live is an absolute necessity ? will 100% of the listeners 'detect' and notice if the sounds playing are live recordings or sample libraries ? a director won't be taken 'seriously ' if he doesn't go 'live' ? thanks for reading and everything else.

[@yonghan5737]

midi Keyboard brand

[@cyberpunkbg140]

Only Moschino T-shitr :D :D

[@luckystrke]

To be honest, I don't think that bx_console high band sounds all that great. It feels a bit harsh. What about reaching for a Maag air band from the same company?

[@Made0nEarth]

now i know why you and Hans Zimmer use PC , you cant have a project that size on a MAC :) (yes you can but you need 10 000 euros to buy one that can)

[@MythixMusic1]

M3TRO actually Tom uses a Mac for his slave. PC as his main

[@MythixMusic1]

M3TRO I remember him mentioning it in Season 1

[@KM-tv5km]

M3TRO more reliable? FAR from it, Mac’s are know for being rock solid, and they’re all the same, so if you have a problem then tons of other people have as well and it’s always easy to find a fix. PC’s can be configured in millions of different ways and are much more prone to error because of windows compatibility issues and tons of other things, guys like Junkie and Hans have top notch people to look after their equipment and solve all those problems, but an average person will have tons of more issues on PC than Mac, and Mac’s also last a lot longer on average.