I will admit, you are one of my biggest influences and I wouldn’t have picked up music again if it weren’t for you. I love your work/ style and It’s more than amazing seeing your behind the scenes techniques. Would definitely love to see more in the future!!
2 months ago
| 1
I don’t really have any questions, I just find all of this super impressive and cool (i’m a sucker for behind the scenes). All of this must take hella dedication and i’m so glad you made this cover
2 months ago
| 3
THE RED MEANS I LOVE YOU??? THAT SONG LITERALLY REMINDS ME OF YOU GUYS OMGOGMG IM JUMPIN
2 months ago
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I'm so fucking stupid, I thought you were a real orchestra despite 1. Knowing what synthetic means and 2. Only actually knowing you and Gloom as people who make the stuff. I didn't question it, I just figured you had a secret orchestra hidden in your bathroom or smth 💅
2 months ago
| 5
Yes yes I like that song, I have been slowly getting into your music these days, to see you made that cover is so cool, I have got to check it out.
2 months ago
| 0
I was just listening to it, it seems like a lot of work for making the song but honestly, worth it. I KNOW it’ll blow up, love your stuff!!
2 months ago
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Thats a lot more work than I expected for a cover
2 months ago
| 2
I didn't understand half of it, all I know is that I love all the work you do! When Whatever will Bleed, will Bleed on Spotify?
2 months ago
| 1
The Blake Robinson Synthetic Orchestra
A look behind the curtain at my latest upload, a cover of "The Red Means I Love You", a song by @MaddsBuckley . My pop stuff tends to be a bit more chaotic than my orchestral pieces. Weirdly I find it much, much easier to get the orchestra sounding 'realistic' as you tend to be hiding everything in the mix, compressing and EQing the poop out of it, and the 'room' sound is not as important.
The track was organised and arranged in Reaper (used for recording guitar, bass, vocals, etc.). I would write the orchestral parts in @FL_STUDIO and then print the stems as WAVs and bring them into Reaper for arranging/mixing/mastering.
Mainly Spitfire Audio and private sample libraries for the orchestral bits. Mixing and mastering is a mixture of @meldaproduction's suite, @iZotopeOfficial's Ozone (mastering) / Nectar (vocals) and various other plugins I've relied on for years.
Guitar and bass parts were played in using my Hils HN3 (love this guitar, not my best sounding, but still great and feels so nice to play) and my HNB5. @NativeInstruments Guitar Rig and @NeuralDSP's Morgan Amps suite used with them. Drums were my noobish skills on an electric kit to record some loops and then a bit of mangling.
Technique-wise I just sat down, starting with the symphonic strings part as the core, and wrote the guitar track around that. I was recording vocals while working on the instrumental, which is my poor excuse for the incredibly chaotic comping process you can see in the pictures. Vocals had a compressor and then basic Nectar bits (delay, EQ, reverb saturation).
I don't think there was any other black magic behind the sound, but feel free to pop any questions in the comments and I can try to answer them.
2 months ago (edited) | [YT] | 261