I've learned more about orchestral arranging here than I've did in my music technology Diploma program. Big ups to the team for such a perfectly explained educational video on orchestration. Thanks!
One of the first things I learned (correct or not) was volume adjusting. Depending on the section, you should balance the volume with faders. Like -5 for strings, -10 for brass etc. Should I just keep everything on 0 and adjust it with CC11? And EQ can make your mockup sound better, no doubt about it. Since you are adding room sounds on top of rooms sounds in every patch you ever load, it needs EQing when it is a whole orchestra.
I think it’s good to challenge the things we learn. With volume balancing, it depends on the library you’re using. With the majority of full orchestra libraries everything is pre-balanced, and with OT’s libraries they’re careful to make sure the different Berlin Series libraries are correctly balanced - it’s done at the recording with gain structure. Sometimes that means libraries are quiet until everything is in together, and so the opposite happens, people turn things up! I don’t think there’s a rule of thumb for turning brass down more than strings. It should be all by the same amount in the same collection, or by making some comparisons between different libraries when mixing stuff together. (See other video on this 👍🏻) The point I’m trying to make here is if you start from 0, then you’ll be choosing the appropriate dynamics when programming. You don’t want to turn things down, just to whack cc1 up to full and have loud samples turned down. Re. EQ. When mixing, you use EQ, of course. But you don’t need to EQ room noise out of modern libraries. Even String libraries are not overly processed these days, so the build up of many patches has less of that 2kHz stacking, and I don’t even approach that in samples anymore unless I actually hear it. In 99.9% of cases I’ve heard, it’s people’s programming that is the issue with why something doesn’t sound good, or “right”, and it’s only made worse by trying to fix the sound with EQ and other plugins.
The instruction is great, but the visual examples are *amazing*! Keep it up! I bought Berlin Orchestra today (not my first sample library rodeo, but who could say no to that sale!)
Doubling the flute an octave lower, with a lower instrument (such as the bassoon up to two octaves down, as Mozart often did) would also be a solution. The lower instrument's overtones combine with the fundamental supplied by the flute (as well as its other overtones, to a lesser degree), effectively amplifying it. That's the theory at least - a MIDI mockup and the real world are, sadly, two different things!
This is a good point! Doubling the line a bit lower would definitely help, and in a more classical context it might be the way to go, or if the orchestration was a bit more dense already then it would also make sense. The reason I haven't doubled it was because I think the music is a bit more 'filmic', and the intention behind it is really 'Solo instrument + accompaniment'. So in this case I wanted the full character of a solo instrument to do the work on the melody, and not any sort of doubling or solution from more advanced orchestration. It's a good point though, and given that the nature of the music changes by adding the brass, it would also be the right thing to do - from a selection of right things to do!
Doubling is a nice thing to try. The only thing I'm really not sure of is if it is "sad" that a real live musicians performance is different from a MIDI mock-up.. in fact I'm sure it's different and that is definitely not Sad, but fun ;)
@@JulienTabaraniComposer and @alexlamymusic - absolutely agree with both your points, there is certainly no 'right' answer here. The context of your solution definitely justifies it! Also agree, perhaps 'sadly' isn't the right word to use - I own quite a few hybrid and synth VSTs which would never exist in the 'real world' of acoustic instruments, but are wonderful to use in cues. This, really, is what makes the art of orchestration so interesting - the fact that similar results can be achieved by using different tools, or that different results can be had by using the same tools. It really is a fascinating art, which can take a lifetime to learn.
@@robkingcomposer yes I'm totally in phase with your artistic approach. Also remembering a 15 years old YT video where a guy reproduced orchestral instruments with synths by using the Resonators extracted from a polymoog and VSTI, the result was impressive, these are the videos: th-cam.com/video/zOUh4WoOvjg/w-d-xo.html th-cam.com/video/_XUiJi5153Y/w-d-xo.html
Thank you, this will give me the right start to avoid having silly mistakes for my hobby-level "filmic" pieces. I have a few old musical ideas sticking in my mind for months. So I have downloaded some nice free orchestral tools just to see if I can make something nice.
Vielen Dank für diese tollen Lektionen! Es ist eine unschätzbare Erfahrung, die Sie mit uns teilen! Ich hoffe wirklich, dass das Thema Mixing und Mastering von Orchestermusik angesprochen wird. Mit freundlichen Grüßen, Yaroslav Kniazev.
Great video, very well explained. Also, great comments (so far) - equally useful insight in here too. The little animations to reinforce the point you're making, now that's really clever. *tips hat to you* I haven't seen before. They set your content out against the rest. Alex does a great job of explaining anyway but watching the visualisations along with the tutorial makes the whole thing feel crystal clear.
Hey Giles! Thank you so much for your kind words. The work on both conceptualizing and designing the infographics was pretty long and intense, and it feels great that this work is appreciated. 💛
Thank you so much. You can help our development by commenting, suggesting and asking questions. We're in this together and we are developing this series with your feedback 💛
Always great to gain some new insight into fundamental topics! Really looking forward to learning more about CCs and how people are using them, because honestly, I'm one of those guys that goes ham on the volume automation.
Well explained. I explain it like this; If you hear someone whispering on the radio, and you raise the volume, it is still whispering, just louder. I am very curious about the upcoming videos, sure we can learn a lot. Today I am going to purchase "Berlin Orchestra with Berklee". After much surfing and reading reviews, watching videos I have come to the decision that this is the package for me. Thanks again for all the time and energy you put into this.
Hey Frank. That is also a great way to explain it ! Thank so much for your compliments and thank you for supporting Orchestral Tools 💛. We hope you will like the product and it will be up to your expectations and supporting you and your creativity in order to create great Orchestral Virtual Orchestrations 🎶.
It's always amused me somewhat just how natural an orchestral piece will sound straight out of the box as it were, with no plugins added. In addition, many sample libraries already have if not plugins, at least built-in effects you can use to adjust the kind of sound you're after. The hard part is figuring out the right dynamics and articulations to find balance and sound as natural as possible.
Thanks! Know any good infographics that show things like the different natural loudnesses of various instruments, perhaps along with their frequency ranges and where they typically perform best? Would be nice to have on a poster.
It’s something we’re adding to weekly on this channel, hopefully for a long time to come! Some episodes will be related to the same subject, but we’re going to cover a wide variety of topics, so it’s not something you’ll need to absorb like a course if you don’t want to.
Great video! How much of this would apply to Hybrid Orchestral Trailer music with a lot of energy and layering of strings and brass? Do you think that the relative dynamics should also be realistic here?
What a great question. Hybrid Orchestration is super interesting, and also pretty advanced. So we're greatful to have pros here watching our fundamental videos too. Maybe @alexlamymusic has an answer for you ?
Good question, yes. I think it's all still relevant, but realism in that type of music is probably not the goal. When you're layering sounds, like having the same line on three string patches for example, you're essentially tripling the amount of players the would normally play that. You might have something like 30 or more players on the part, which isn't "realistic", but will still probably sound good, and have that cinematic thickness that you're going for. What I'd be most concerned about is whether the different libraries are playing the same dynamics, or are balanced together with each other first. You wouldn't be able to copy and paste your CC data between them, and if think you'd achieve a better result by going through each and making sure they're playing the dynamics you need, and then that they're balanced together. Then you can get the right sense of scale for everything else in the arrangement and balance accordingly. A common problem is having to turn things up because there's no balance, or no sense of dynamic, and that is going to ruin the feeling of the music whether it's meant to be realistic or not. You're then also going to have issues when mixing - either you turn it all down on the fader, or put a compressor on the whole mix, and then your dynamics are squashed even more, and the music stops being engaging to the listener.
You're talking about the volume of the flute and the naturalness of the sound. But, as far as I know, even in a live performance, the flute can be made louder through the microphone and this is used.)
Actually this is exactly what I’m recommending not doing. If you simply turn something up then you’re sacrificing realism for volume. You’re turning something soft up to hear it, when in reality you would either orchestrate differently or increase the dynamic to balance it. In live orchestral performance, microphones are almost never used, it’s all about natural balance and projection, and it’s the job of a conductor to adjust these things. Something like a Steve Reich piece is intentionally different in the composition, where the use of microphones and the amplification of quieter sounds is a different matter. And not unrealistic, just not realistic like a regular symphony orchestra. And as far as recording goes, this is a different ball game, and our next episode looks into this a bit more 😉
I’m extremely excited about this content. It truly comes across as a bite sized version of a college lecture, but practical as well. I’ve just purchase Berlin created with Berklee. It isn’t my first orchestral library (and I’m an amateur/hobbyist), but I feel it is important to show support for the content partnership. I encourage others who can to do so, as well. Finally, a suggestion…You may want to promote this channel with other TH-cam content creators to help accelerate its growth and success.
@@alexlamymusic Rick Beato immediately comes to mind for a number of reasons... Incredible and compelling content creator, size of audience, educational focus, diversity of audience, no apparent commercial conflicts. He's done some very good joint casts that provide cross promotion. (I have no affiliation nor relationship with him; I am just a fan.)
4:40 A thousand players? Hmmm🤔 why not, I'll tell that to my old mate Gustav, he needs some cool ideas for his 8th symphony! 😉 Balancing with the CC1 dynamic is always my 1st aim and I try to usualy keep my volume faders for the orchestra at 0db, however I use CC11 (expression) to reinforce some dynamic expressions (a little "wave up" of CC11 during a "wave up" of CC1).
Interesting. So it's always better to change dynamic rather than volume? I must admit I tend to mess with the volume faders for each track. I'll try leaving it alone for future projects!
For a beginning midi orchestrator like me this was a very insightful video. One question though: when you replaced the flute with oboe (at time 9:29) you had the oboe, brass, and strings all at a dynamic level of mf...wouldn't you typically have the brass at a lower dynamic level than the strings? (as shown in the video at 8:31)
That’s a good question. The brass programming is the same in both examples there, sort of between mp and mf. That’s mostly because the part suggests getting a bit brighter. If you wrote a part that was quieter for the brass, then it wouldn’t be the same music either, and you shouldn’t just pull the cc1 data or volume faders down for them either (the same as pushing the strings up is wrong as well). The idea is more: if the brass is mf, what does everyone else need to do to balance well?
Oh this Videos will be my new bible! Great Stuff! Can you confirm, that the Big Berlin Main Series ist volumebalanced as well out of the box? I am psyched to learn more from your Videos❤️
Hey Christoph. Thank you so much for your enthusiasm. We are also thrilled to teach you more💛. Your question on the Berlin series, I will ask Alex to answer.
Hi Christoph, yes, the Berlin main collections are volume balanced. Same gain settings when recording. I would say I rarely have to adjust volumes of those patches. Often it’s just a case of reminding myself to not program things too loud, or go for louder dynamics for the sake of it, and then everything ends up balancing pretty well. The trickiest thing is always strings, and getting lines to come out in dense, loud sections of music, but nothing is truly automatic!
This is good advice in theory, but in practice if you mockup existing film scores (with a few traditional exceptions) you will find yourself automating volume a lot. This is mostly because film scores are a blend of many mic positions, and there isn't actually one given 'perspective'. Some instruments will be mostly spot and close mics, while others are mostly room, and there's no one place you could stand in a room to simulate this. But even if you're making something completely traditional, you cannot rely on stock balances because a) you need to adjust (and sometimes automate) mic positions to get a given sound, which will immediately throw off the balance you get with stock instruments. b) there are resonances and inconsistencies between and within the dynamics of virtual instruments that you need to compensate for, which will also throw off the stock balance. TLDR; I would strongly advise people practice automating volumes rather than shying away from it, because your internal perspective is more important than any traditional template, and the only way to exercise those muscles is to use these tools.
Guillaume, you’re so ahead of the game here! This video is meant to be starting with the basics, and eliminating an issue that might have bigger implications down the line - just intentionally choosing the dynamic you need. It’s 1/3 in a set of videos on this topic. In each video we expand onto the info you’ve put in here, balancing between libraries in the second video, and sonic perspective, recording, and mic positions in the third. Take a look if you haven’t already, it would be great to hear how you think we did!
@@alexlamymusic Oh fair enough, I didn't realise! I guess it's kind of like learning the rules before you break them. Will check out the other videos, thanks!
You talk about playing in different dynamic layers like pp or mf. How can we see which layer we are playing in? At what velocity does the xfade of each instrument happen? Is there a list of that, so we have a reference? If we use the Mod wheel we also go to other layers of course, should we play/draw all instruments with the same Mod. Curve, with a small different curve since everything is already sonic balanced? Do we use CC11 only where really needed, or just not? Sorry for all these questions, but it is so interesting! 🙂
Hey Frank! In SINE player, on the bottom right, you can open the 'Dyn' tab, for Dynamics, and see what dynamic layers are in a patch. You can turn them off and on, and they'll be re-mapped across the range accordingly, across CC1 for long notes and velocity for short notes, most of the time. This way you can listen to what each layer sounds like to get a good idea. When playing them in, the Velocity or CC1 is going to crossfade between all of the dynamics, or adjust the volume so that you get the impression of dynamics that haven't been recorded in some cases. So, between a combination of listening and the rough position of the CC1 or Velocity data, you should get an idea of what dynamic you're working with. You can use the same mod curve for different patches, but as each patch is slightly different it's better practice to play or draw them in individually and listen to what you do. They're instruments still, and not always technically perfect even with all of the work that goes in after the recordings. And you may want some lines to naturally play out or down within a texture, so it's always good to have a musical performance. CC11 in most cases for Orchestral Tools instruments controls volume. We have an episode on this that you can look out for, but ask yourself why you need to change the volume if you've already got the right dynamics in place. If you want to fade in or out more than the dynamics allow, then CC11 can help you - or if you need to adjust the volume between an ugly transition, to help stop something poking out of a texture, then you can see CC11 as a little fader to pull down and then back, and so on. Hope that helps! Alex
@alexlamymusic Hi Alex, thank you so much for this detailed explanation. This helps me/us who are new to Sine Player a lot, and it gives us a lead. I am already looking forward to viewing the upcoming videos, as they will be a great help. I certainly appreciate the time you spend on this to help us amateur/professionals get started with Berlin Orchestra. I have spent hours reading reviews and OT always came to the top of the list. Thanks.
Great video. But I regularly see many people programming both modulation (dynamics) as well as expression when composing. I’m struggling with the idea that they are wrong for doing that.
Hey William. First of all, thank you. Second of all, you are right. CC1 is dynamics, Expression is CC11. They are often used together and we will have a video on CC11 in a few weeks. And if you wait another week, Alex will reveal a secret ... and that is when to use CC7 actually. Just spoiling too much of Basic Orchestral Balancing 2. Sorry @alexlamymusic.
Hey William. You’re correct, they’re not wrong. We have more coming on balancing and use of midi CC’s, so hopefully it will all be clear in the end! We wanted to start with the basics, which is essentially choosing the appropriate dynamics first. The nuances of programming and realism aren’t always that simple, but my point is that you’re most of the way there by getting the most realistic dynamic balance just with cc1
You should use both, however that's best paired with the fact that you're used to how real scores sound, what is possible dynamically, and not completely disrespecting realism. In film music it might be balanced "enough" on stage but then they are still hit with volume automation and layering sample libraries in parts to beef it up ect. So it's used as a way to create a lot we have missing in sample libraries. For instance the timbre difference between p and ppp on a trombone is negligible, so if your simple library only has p recorded and it's too loud you can simply ride volume down to mimic the other layer. There isn't a significant difference in timbre for half of the woodwinds either. Sometimes it's used to mimic other articulations as well... Making low dynamics louder on strings can sort of approximate the mellow sound of sul tasto while the opposite high dynamics at very low volume simulates the thin harsher sound of sul pont. Problem with learning to use volume automation early is that you don't have any perspective of how to compose without the volume automation. A lot to cover for why volume is used
You're right, it is all a question of balancing in the end. You are wrong about one thing though: The trumpet, although purple is real and made of brass. 🎺🎺🎺
Overall these techniques are meant to mimic the experience of a live orchestra, which is something that fewer and fewer listeners ever experience; therefore what is the use of mimicking the experience "to be real" when the audience is not familiar with that experience. Perhaps if the classical world ever overhauls itself to broaden its audience (highly, highly unlikely due to the politics of the classical world), it might be important to mimic the real-life orchestral experience. Otherwise, why not simply program a synthetic orchestra with 1,000 flutes (except that a VST's round-robins and samples are limited so it might not actually sound like 1,000 real independent flutes). The cyber world of music is now more real than the real world of music to nearly everyone. Those who formally study music are the rare ones. What I am explaining here is already occurring. Music scores for TV/Film already has "impossible" configurations of instruments and no one is concerned about it, or even notices it.
Movie soundtracks routinely pump up various instruments (Bernard Herrmann) to achieve an effect, and I don't remember anyone complaining that it doesn't sound real. Since we are recording and not playing live, shouldn't the main consideration of a mockup be serving the music and not realism?
We've cancelled them. They're no longer allowed in the orchestra 😂 But yes, for the purposes of talking about balancing between sections, we're omitting the percussion for now. They're not a homogeneous section like the other families of instruments, and so each percussion instrument has different techniques and ways of integrating, or much more specific ways in which they're orchestrated. We'll cover them down the line later in the season though, don't worry!👍
We had hoed nobody would notice ... 👀 But we got found out I guess .... Please, to all the orchestral percussion players out there ... Don't be too mad on us. We are planning on episodes about percussion in a later stage of the series, maybe even in Season 2, once we have got all the fundamental basics covered. Until then, we hope you all can still enjoy the videos we are making, even if they are simplified in some regards here and there to make them not too complex esp. for beginners. 💛 🪘🪘🪘 💛
...sets down drink. opens Petrushka flips to rehearsal marker 71 .....points to bassoon, trumpet, and flute waltz ...perhaps the first step before reaching for samples should be to know the literature.
Hey Stephen. Thank you for your comment. We believe that these things do not exclude each other and we are not certain that one thing needs to come first. You can learn how to use orchestral libraries and you can learn classical music history, its composers and literature. It's just different topics, like you have different classes when your are studying music. We are offering this video series for everyone who wants to learn more about how to use orchestral samples libraries, hoping people can benefit from it and of course, hoping they like it too.
The point of the comment though was to direct anyone interested toward musical examples illustrating a critical concept for orchestral blend absent in the video: register/range. If you look at the Petrushka waltz, it directly contradicts the information in this video, precisely because of the registers and nature of the parts of the trumpet, flute, and bassoon. I get you guys are trying to sling the courses and the sample library, and that register will hopefully be covered in a subsequent video, but a familiarity with the existing literature (which instills an understanding of idiomatic writing) as a precursor to working with orchestra samples seems a much more prudent approach. Otherwise it's like trying to write a novel without having read any novels.
@@stephenlimbaugh You’re right there, and range/register are covered in other upcoming videos. It’s not really possible to do everything in one video though - we want people to have a key takeaway that can help them improve their work with programming realistic sounding mock-ups, and overall imbalance is probably the main issue I see and hear. Of course more study and knowledge of orchestral material is going to help with that too, but there will be people out there who don’t know where to start, or who are daunted by opening a score or dissecting classical music. The videos are made to be accessible to anyone and hopefully offering something to people at different points in their study of orchestration as well. It’s all free, and we’re using different libraries as we go along, never with the intention of trying to sell something. The principles should be applicable to any library or any DAW. In the end, I hope that each video topic will become a resource people can go back to like chapters in an orchestration book 👍🏻
What if you don't compose in a DAW, nor play piano? Let's face it, the only real need for a MIDI keyboard is if you either play piano, or you use it for programming 'beats' and such. And the really good sample libraries are created with the idea of MIDI keyboard input (especially the new Spitfire Orchestra library with Performance samples). I'm a guitar player, but I've studied music theory using the music staff to compose with, the old school method, and which I prefer. If I had to compose on piano I'd be very limited because I don't have the technical ability of a pianist. Even with a MIDI guitar I don't play 'clean' enough all the time for accurate MIDI input. Half my time would be spent with editing extra MIDI notes accidentally added while playing in a part. Also, even the MIDI keyboard can be a limiting device when trying to simulate different instruments of the orchestra, or even with trying to simulate a guitar. At present -- I'm using Notepeformer in Sibelius. Haven't tried it yet, but I plan to export my NotePerformer as MIDI files to Cubase, or as XML into StaffPad. And if to StaffPad, I would then export all the tracks as Audio into Cubase, and mix, use different reverb, etc. I don't see coverage here about any method for those who do not play a MIDI keyboard.
If you don’t compose in a DAW then these concepts still apply, they’re the very basics of orchestration. You’re right: Sample libraries are created with midi in mind, both in terms of keyboard layout and use of MIDI CC’s. But I don’t look at the midi keyboard like a piano - it can be, but it can also just be an input device. My keys playing is nothing to brag about. I’ll usually play lines in one at a time, and fixing notes, deleting mistakes etc. is just part of programming. When you’re using a notation program, you’re not doing any programming, you’re relying on the program to translate your dynamics and technique markings into the sound you want. When you transfer the midi over to a DAW, you’ll need to reprogram it to get it sounding decent, there’s nothing automatic about that process. If you’re thinking about mix and reverb then you’re already way ahead of yourself at that point - it has to be music first. You can input notes however you like, with keyboards, pads, wind controllers, or mouse and keyboard, I don’t think it makes any difference at the end of the day, other than you’ll do better with whatever you’re comfortable with.
how different marketing can be... Orchestral Tools: "we've teamed up with Berklee to bring you a free course about making orchestral mockups sound less shit" NI product specialist (verbatim): "this sounds kinda cool, let's tweak some knobs and see what we can get out of it"
@@virtual.orchestration IMO you guys should be WAY more vocal about the fact that SINE lets users buy PARTS of a giant expensive collection rather than the whole thing at once. that's genuinely awesome, a huge selling point in my book!
This is a good questions. Sounds quite advanced. What exactly do you mean by "orchestral texture" ? What is it exactly what you are eager to know and learn ?
Thank you for correcting us. We try harder in the future and appreciate the community for letting us know our grammatical or any other mistakes =) Nobody is perfect 😉
People need to start facing some tenor clefs and Horns in D and stop faking . It is also essential visiting rehearsals with the scores, to understand the problems of orchestral music. You also can´t speak about balance without considering harmonic parts and function in the texture. To consider this essential aspect mentioned you will have to write and read & play what you read, or hear it internally. There is no fast food orchestration that is professional long term. YOu should want first a good composition, not only good mockup. Your mockup may sound balanced, but not your composition. The composition is not its own recording, but the idea which gets recorded, and hopefully performed again.
Hey Emanuel, thank you for your criticism. You may not not have noticed, but this channel is not about composing, but about Orchestration. Moreover, you have quite a list of "have-to"s. It is all right, in a way. We believe however, that people should just get started making music when the want to and that everyone can learn things bit by bit overtime. It is debatable if all your have-tos need to be fullfilled before one can start writing orchestral music. We do not consider the knowledge and our videos here fast food, at all. We try to create small bits of knowledge in every video that beginners are able to understand and that might also be a nice presetation and repetition of knowledge for intermediates and maybe even for the pros. In the end, knowledge grows over time anyways. Above all, we believe that creating music should be fun and joy and inspirational and not only a heap of obligations. It can be a fight, sometimes. It needn't have to be always, though. So we hope that you still can feel joy and fun creating music yourself 🎶
Hi Emanuel. The things you’re saying will of course help anyone on their road to becoming a better writer, or having a better understanding of music, but I have to say I disagree that people ‘need’ to do those things. Not everyone is going to have access to an orchestral rehearsal, and it isn’t a necessary first step for a beginner who is learning about the orchestra. Also, I’ve been doing this a while now, and I have never come across a tenor clef or a Horn in D in any film score, or recording session. If somebody understands Horns, and how to orchestrate for them, that’s more important than being able to sight read their part. I hope you join us on this venture and enjoy some of the other videos we release - I know there will be something for everyone and it would be great to hear what you think of the other topics when they’re released.
I've learned more about orchestral arranging here than I've did in my music technology Diploma program. Big ups to the team for such a perfectly explained educational video on orchestration. Thanks!
One of the best channels on youtube... Tutorial is great, also has a bit fun, and best of all: I understand it :)))
Thank you Alex for this video!
One of the first things I learned (correct or not) was volume adjusting. Depending on the section, you should balance the volume with faders. Like -5 for strings, -10 for brass etc.
Should I just keep everything on 0 and adjust it with CC11?
And EQ can make your mockup sound better, no doubt about it. Since you are adding room sounds on top of rooms sounds in every patch you ever load, it needs EQing when it is a whole orchestra.
I think it’s good to challenge the things we learn. With volume balancing, it depends on the library you’re using. With the majority of full orchestra libraries everything is pre-balanced, and with OT’s libraries they’re careful to make sure the different Berlin Series libraries are correctly balanced - it’s done at the recording with gain structure.
Sometimes that means libraries are quiet until everything is in together, and so the opposite happens, people turn things up!
I don’t think there’s a rule of thumb for turning brass down more than strings. It should be all by the same amount in the same collection, or by making some comparisons between different libraries when mixing stuff together. (See other video on this 👍🏻)
The point I’m trying to make here is if you start from 0, then you’ll be choosing the appropriate dynamics when programming. You don’t want to turn things down, just to whack cc1 up to full and have loud samples turned down.
Re. EQ. When mixing, you use EQ, of course. But you don’t need to EQ room noise out of modern libraries. Even String libraries are not overly processed these days, so the build up of many patches has less of that 2kHz stacking, and I don’t even approach that in samples anymore unless I actually hear it. In 99.9% of cases I’ve heard, it’s people’s programming that is the issue with why something doesn’t sound good, or “right”, and it’s only made worse by trying to fix the sound with EQ and other plugins.
Great tips! I learned a lot just from this. Thank you
Thank you, Chris. Let's hope you'll also learn as much from the upcoming videos. Next one will be out tonight!
The work and dedication going into these videos are obvious. I absolutely love them. Thank you!!!
The instruction is great, but the visual examples are *amazing*! Keep it up! I bought Berlin Orchestra today (not my first sample library rodeo, but who could say no to that sale!)
So great to hear! And yes, the graphics are brilliant!
Hey Mama, thank you for appreciating our visuals. 🎨🎨🎨
Doubling the flute an octave lower, with a lower instrument (such as the bassoon up to two octaves down, as Mozart often did) would also be a solution. The lower instrument's overtones combine with the fundamental supplied by the flute (as well as its other overtones, to a lesser degree), effectively amplifying it. That's the theory at least - a MIDI mockup and the real world are, sadly, two different things!
What a great and pro-level comment. Thank you. 💛 I guess Alex can say something about that too.
This is a good point! Doubling the line a bit lower would definitely help, and in a more classical context it might be the way to go, or if the orchestration was a bit more dense already then it would also make sense. The reason I haven't doubled it was because I think the music is a bit more 'filmic', and the intention behind it is really 'Solo instrument + accompaniment'. So in this case I wanted the full character of a solo instrument to do the work on the melody, and not any sort of doubling or solution from more advanced orchestration. It's a good point though, and given that the nature of the music changes by adding the brass, it would also be the right thing to do - from a selection of right things to do!
Doubling is a nice thing to try. The only thing I'm really not sure of is if it is "sad" that a real live musicians performance is different from a MIDI mock-up.. in fact I'm sure it's different and that is definitely not Sad, but fun ;)
@@JulienTabaraniComposer and @alexlamymusic - absolutely agree with both your points, there is certainly no 'right' answer here. The context of your solution definitely justifies it! Also agree, perhaps 'sadly' isn't the right word to use - I own quite a few hybrid and synth VSTs which would never exist in the 'real world' of acoustic instruments, but are wonderful to use in cues. This, really, is what makes the art of orchestration so interesting - the fact that similar results can be achieved by using different tools, or that different results can be had by using the same tools. It really is a fascinating art, which can take a lifetime to learn.
@@robkingcomposer yes I'm totally in phase with your artistic approach. Also remembering a 15 years old YT video where a guy reproduced orchestral instruments with synths by using the Resonators extracted from a polymoog and VSTI, the result was impressive, these are the videos:
th-cam.com/video/zOUh4WoOvjg/w-d-xo.html th-cam.com/video/_XUiJi5153Y/w-d-xo.html
What a fantastic explanation! You simplified it and made it applicable.
This is pure gold! Thank you so much.
This comment is pure gold, too. Thank you., 💛
Thank you, this will give me the right start to avoid having silly mistakes for my hobby-level "filmic" pieces. I have a few old musical ideas sticking in my mind for months. So I have downloaded some nice free orchestral tools just to see if I can make something nice.
Vielen Dank für diese tollen Lektionen! Es ist eine unschätzbare Erfahrung, die Sie mit uns teilen!
Ich hoffe wirklich, dass das Thema Mixing und Mastering von Orchestermusik angesprochen wird.
Mit freundlichen Grüßen, Yaroslav Kniazev.
Very informative video. Thanks!
perfectly explained. can't wait for more videos to come.
Thank you =) We can't wait to show you more 💛
Great video, very well explained. Also, great comments (so far) - equally useful insight in here too.
The little animations to reinforce the point you're making, now that's really clever. *tips hat to you* I haven't seen before. They set your content out against the rest. Alex does a great job of explaining anyway but watching the visualisations along with the tutorial makes the whole thing feel crystal clear.
Hey Giles! Thank you so much for your kind words. The work on both conceptualizing and designing the infographics was pretty long and intense, and it feels great that this work is appreciated. 💛
Great new course - thanks for making this available - really looking forward to seeing the content develop.
Thank you so much. You can help our development by commenting, suggesting and asking questions. We're in this together and we are developing this series with your feedback 💛
Thank you
Well, thank you Bedowin.
Excellent channel, beautiful explanations complemented by smooth animations, suscribed!
Thank you for your appreciation and that you like our visual graphics too.
Thank You Very Much!
🙂🙏
Thank you for your comment 💛
Thanks for this informative video!
Hey Alon, thanks for watching it.
Always great to gain some new insight into fundamental topics! Really looking forward to learning more about CCs and how people are using them, because honestly, I'm one of those guys that goes ham on the volume automation.
Hey, I hope we can provide you to some deeper insights on Midi CCs, esp. on CC7 and 11 in the upcoming episodes. Thank you for your feedback.
That's why I invested in Vienna Mir Pro 3D. Gives you awesome control and beautiful settings per instrument out of the box
Well explained. I explain it like this; If you hear someone whispering on the radio, and you raise the volume, it is still whispering, just louder. I am very curious about the upcoming videos, sure we can learn a lot. Today I am going to purchase "Berlin Orchestra with Berklee". After much surfing and reading reviews, watching videos I have come to the decision that this is the package for me. Thanks again for all the time and energy you put into this.
Hey Frank. That is also a great way to explain it ! Thank so much for your compliments and thank you for supporting Orchestral Tools 💛. We hope you will like the product and it will be up to your expectations and supporting you and your creativity in order to create great Orchestral Virtual Orchestrations 🎶.
Great tips swapping from flute to oboe because the oboe has more power at the register of the written melody. English horn also cuts through nicely.
Thank you for supporting Alex' idea on this one. Music creation can also be a very subjective process and it's great to get support here. 📯📯📯
Such a useful and accessible video. Thank you for these series!
Glad you liked it! Another one coming tomorrow!
Thank you so much. We appreciate your support.
Man I have a lot to learn. This is fantastic. 🎉. Thankyou
Thank you, Dave. We're happy you like it 💛
It's always amused me somewhat just how natural an orchestral piece will sound straight out of the box as it were, with no plugins added. In addition, many sample libraries already have if not plugins, at least built-in effects you can use to adjust the kind of sound you're after. The hard part is figuring out the right dynamics and articulations to find balance and sound as natural as possible.
Hey Jean-Loup. That's exactly the point of the video ! Thank you for letting us know that it came across. 💛
Thanks! Know any good infographics that show things like the different natural loudnesses of various instruments, perhaps along with their frequency ranges and where they typically perform best? Would be nice to have on a poster.
Great lesson
Thank you!
I knew about this topic, but this video gave me a new perspective on it. Thanks!
Cool that we could show you a different angle. Thx for your comment. 💛
very good video
Very nice comment.
... anyone know where that keyboard desk is from?
... we do know that, actually. It s a custom design, handmade for Orchestral Tools.
Fascinating. Is this coming out as a course?
It’s something we’re adding to weekly on this channel, hopefully for a long time to come!
Some episodes will be related to the same subject, but we’re going to cover a wide variety of topics, so it’s not something you’ll need to absorb like a course if you don’t want to.
Great video! How much of this would apply to Hybrid Orchestral Trailer music with a lot of energy and layering of strings and brass? Do you think that the relative dynamics should also be realistic here?
What a great question. Hybrid Orchestration is super interesting, and also pretty advanced. So we're greatful to have pros here watching our fundamental videos too. Maybe @alexlamymusic has an answer for you ?
Good question, yes. I think it's all still relevant, but realism in that type of music is probably not the goal. When you're layering sounds, like having the same line on three string patches for example, you're essentially tripling the amount of players the would normally play that. You might have something like 30 or more players on the part, which isn't "realistic", but will still probably sound good, and have that cinematic thickness that you're going for. What I'd be most concerned about is whether the different libraries are playing the same dynamics, or are balanced together with each other first. You wouldn't be able to copy and paste your CC data between them, and if think you'd achieve a better result by going through each and making sure they're playing the dynamics you need, and then that they're balanced together. Then you can get the right sense of scale for everything else in the arrangement and balance accordingly. A common problem is having to turn things up because there's no balance, or no sense of dynamic, and that is going to ruin the feeling of the music whether it's meant to be realistic or not. You're then also going to have issues when mixing - either you turn it all down on the fader, or put a compressor on the whole mix, and then your dynamics are squashed even more, and the music stops being engaging to the listener.
You're talking about the volume of the flute and the naturalness of the sound. But, as far as I know, even in a live performance, the flute can be made louder through the microphone and this is used.)
Actually this is exactly what I’m recommending not doing. If you simply turn something up then you’re sacrificing realism for volume. You’re turning something soft up to hear it, when in reality you would either orchestrate differently or increase the dynamic to balance it.
In live orchestral performance, microphones are almost never used, it’s all about natural balance and projection, and it’s the job of a conductor to adjust these things.
Something like a Steve Reich piece is intentionally different in the composition, where the use of microphones and the amplification of quieter sounds is a different matter. And not unrealistic, just not realistic like a regular symphony orchestra.
And as far as recording goes, this is a different ball game, and our next episode looks into this a bit more 😉
Lovely! Loving this!
Thank you ! We are loving your appreciation and your enthusiasm. 💛
Wow, this is awesome!!!
Thank you 💛
This is very insightful!
👁️👁️👁️ We're happy to provide you some insights.
I’m extremely excited about this content. It truly comes across as a bite sized version of a college lecture, but practical as well. I’ve just purchase Berlin created with Berklee. It isn’t my first orchestral library (and I’m an amateur/hobbyist), but I feel it is important to show support for the content partnership. I encourage others who can to do so, as well.
Finally, a suggestion…You may want to promote this channel with other TH-cam content creators to help accelerate its growth and success.
Great idea. Who would you want to see us partner with?
@@alexlamymusic Rick Beato immediately comes to mind for a number of reasons... Incredible and compelling content creator, size of audience, educational focus, diversity of audience, no apparent commercial conflicts. He's done some very good joint casts that provide cross promotion. (I have no affiliation nor relationship with him; I am just a fan.)
4:40 A thousand players? Hmmm🤔 why not, I'll tell that to my old mate Gustav, he needs some cool ideas for his 8th symphony! 😉
Balancing with the CC1 dynamic is always my 1st aim and I try to usualy keep my volume faders for the orchestra at 0db, however I use CC11 (expression) to reinforce some dynamic expressions (a little "wave up" of CC11 during a "wave up" of CC1).
That intro was hilarious!
great work!!!
Thank you !!!
Interesting. So it's always better to change dynamic rather than volume? I must admit I tend to mess with the volume faders for each track. I'll try leaving it alone for future projects!
For a beginning midi orchestrator like me this was a very insightful video. One question though: when you replaced the flute with oboe (at time 9:29)
you had the oboe, brass, and strings all at a dynamic level of mf...wouldn't you typically have the brass at a lower dynamic level than the strings? (as shown in the video at 8:31)
That’s a good question. The brass programming is the same in both examples there, sort of between mp and mf. That’s mostly because the part suggests getting a bit brighter. If you wrote a part that was quieter for the brass, then it wouldn’t be the same music either, and you shouldn’t just pull the cc1 data or volume faders down for them either (the same as pushing the strings up is wrong as well). The idea is more: if the brass is mf, what does everyone else need to do to balance well?
Oh this Videos will be my new bible! Great Stuff! Can you confirm, that the Big Berlin Main Series ist volumebalanced as well out of the box?
I am psyched to learn more from your Videos❤️
Hey Christoph. Thank you so much for your enthusiasm. We are also thrilled to teach you more💛. Your question on the Berlin series, I will ask Alex to answer.
Hi Christoph, yes, the Berlin main collections are volume balanced. Same gain settings when recording. I would say I rarely have to adjust volumes of those patches. Often it’s just a case of reminding myself to not program things too loud, or go for louder dynamics for the sake of it, and then everything ends up balancing pretty well. The trickiest thing is always strings, and getting lines to come out in dense, loud sections of music, but nothing is truly automatic!
@@alexlamymusic thank you so much. Very helpful❤️
At 11:05 you said that for CC11 there is an extra video. Will the video be released first? Or is it already released? I couldn’t find it.
Hey Damjan, thank you for the comment. The video on CC 11 will be released in a few weeks.
@@virtual.orchestration all right thanks for the reply!
Our CC11 video was just released, by the way 👍🏻
@@alexlamymusic okay cool, thanks for that! :)
- give me a minute
- *7 hours later
😄 I can relate to that part
We've all been there 😉
i know this guy is a pro because he color codes his tracks goddam
This is good advice in theory, but in practice if you mockup existing film scores (with a few traditional exceptions) you will find yourself automating volume a lot. This is mostly because film scores are a blend of many mic positions, and there isn't actually one given 'perspective'. Some instruments will be mostly spot and close mics, while others are mostly room, and there's no one place you could stand in a room to simulate this.
But even if you're making something completely traditional, you cannot rely on stock balances because a) you need to adjust (and sometimes automate) mic positions to get a given sound, which will immediately throw off the balance you get with stock instruments. b) there are resonances and inconsistencies between and within the dynamics of virtual instruments that you need to compensate for, which will also throw off the stock balance.
TLDR; I would strongly advise people practice automating volumes rather than shying away from it, because your internal perspective is more important than any traditional template, and the only way to exercise those muscles is to use these tools.
Guillaume, you’re so ahead of the game here! This video is meant to be starting with the basics, and eliminating an issue that might have bigger implications down the line - just intentionally choosing the dynamic you need.
It’s 1/3 in a set of videos on this topic. In each video we expand onto the info you’ve put in here, balancing between libraries in the second video, and sonic perspective, recording, and mic positions in the third.
Take a look if you haven’t already, it would be great to hear how you think we did!
@@alexlamymusic Oh fair enough, I didn't realise! I guess it's kind of like learning the rules before you break them. Will check out the other videos, thanks!
You talk about playing in different dynamic layers like pp or mf.
How can we see which layer we are playing in? At what velocity does the xfade of each instrument happen?
Is there a list of that, so we have a reference?
If we use the Mod wheel we also go to other layers of course, should we play/draw all instruments with the same Mod. Curve, with a small different curve since everything is already sonic balanced?
Do we use CC11 only where really needed, or just not?
Sorry for all these questions, but it is so interesting! 🙂
Hey Frank! In SINE player, on the bottom right, you can open the 'Dyn' tab, for Dynamics, and see what dynamic layers are in a patch. You can turn them off and on, and they'll be re-mapped across the range accordingly, across CC1 for long notes and velocity for short notes, most of the time. This way you can listen to what each layer sounds like to get a good idea.
When playing them in, the Velocity or CC1 is going to crossfade between all of the dynamics, or adjust the volume so that you get the impression of dynamics that haven't been recorded in some cases. So, between a combination of listening and the rough position of the CC1 or Velocity data, you should get an idea of what dynamic you're working with.
You can use the same mod curve for different patches, but as each patch is slightly different it's better practice to play or draw them in individually and listen to what you do. They're instruments still, and not always technically perfect even with all of the work that goes in after the recordings. And you may want some lines to naturally play out or down within a texture, so it's always good to have a musical performance.
CC11 in most cases for Orchestral Tools instruments controls volume. We have an episode on this that you can look out for, but ask yourself why you need to change the volume if you've already got the right dynamics in place. If you want to fade in or out more than the dynamics allow, then CC11 can help you - or if you need to adjust the volume between an ugly transition, to help stop something poking out of a texture, then you can see CC11 as a little fader to pull down and then back, and so on.
Hope that helps!
Alex
th-cam.com/video/erKxGxJ53_g/w-d-xo.html
@alexlamymusic
Hi Alex, thank you so much for this detailed explanation. This helps me/us who are new to Sine Player a lot, and it gives us a lead. I am already looking forward to viewing the upcoming videos, as they will be a great help. I certainly appreciate the time you spend on this to help us amateur/professionals get started with Berlin Orchestra. I have spent hours reading reviews and OT always came to the top of the list. Thanks.
Great video. But I regularly see many people programming both modulation (dynamics) as well as expression when composing. I’m struggling with the idea that they are wrong for doing that.
Hey William. First of all, thank you. Second of all, you are right. CC1 is dynamics, Expression is CC11. They are often used together and we will have a video on CC11 in a few weeks. And if you wait another week, Alex will reveal a secret ... and that is when to use CC7 actually. Just spoiling too much of Basic Orchestral Balancing 2. Sorry @alexlamymusic.
@@virtual.orchestration ❤
@@virtual.orchestration can’t wait, loving this content so far. Awesome resource
Hey William. You’re correct, they’re not wrong. We have more coming on balancing and use of midi CC’s, so hopefully it will all be clear in the end!
We wanted to start with the basics, which is essentially choosing the appropriate dynamics first. The nuances of programming and realism aren’t always that simple, but my point is that you’re most of the way there by getting the most realistic dynamic balance just with cc1
You should use both, however that's best paired with the fact that you're used to how real scores sound, what is possible dynamically, and not completely disrespecting realism. In film music it might be balanced "enough" on stage but then they are still hit with volume automation and layering sample libraries in parts to beef it up ect. So it's used as a way to create a lot we have missing in sample libraries. For instance the timbre difference between p and ppp on a trombone is negligible, so if your simple library only has p recorded and it's too loud you can simply ride volume down to mimic the other layer. There isn't a significant difference in timbre for half of the woodwinds either.
Sometimes it's used to mimic other articulations as well... Making low dynamics louder on strings can sort of approximate the mellow sound of sul tasto while the opposite high dynamics at very low volume simulates the thin harsher sound of sul pont.
Problem with learning to use volume automation early is that you don't have any perspective of how to compose without the volume automation.
A lot to cover for why volume is used
Loved this video. I learned quite a lot. Liked and sub’d. Thank you!
Great to hear René, thank you!
Thx, René. 💛
Nice (but short) trumpet cadenza at the end. I was wondering why it was precariously balanced on that piano.
Good thing it’s plastic.
You're right, it is all a question of balancing in the end. You are wrong about one thing though: The trumpet, although purple is real and made of brass. 🎺🎺🎺
Isn't modern technology great? Here I am sitting at home getting a University-level education on orchestration without any gatekeepers.
Overall these techniques are meant to mimic the experience of a live orchestra, which is something that fewer and fewer listeners ever experience; therefore what is the use of mimicking the experience "to be real" when the audience is not familiar with that experience. Perhaps if the classical world ever overhauls itself to broaden its audience (highly, highly unlikely due to the politics of the classical world), it might be important to mimic the real-life orchestral experience. Otherwise, why not simply program a synthetic orchestra with 1,000 flutes (except that a VST's round-robins and samples are limited so it might not actually sound like 1,000 real independent flutes). The cyber world of music is now more real than the real world of music to nearly everyone. Those who formally study music are the rare ones. What I am explaining here is already occurring. Music scores for TV/Film already has "impossible" configurations of instruments and no one is concerned about it, or even notices it.
Movie soundtracks routinely pump up various instruments (Bernard Herrmann) to achieve an effect, and I don't remember anyone complaining that it doesn't sound real. Since we are recording and not playing live, shouldn't the main consideration of a mockup be serving the music and not realism?
Weird that he says there are three sections of the orchestra, completely omitting the percussion section…
We've cancelled them. They're no longer allowed in the orchestra 😂
But yes, for the purposes of talking about balancing between sections, we're omitting the percussion for now. They're not a homogeneous section like the other families of instruments, and so each percussion instrument has different techniques and ways of integrating, or much more specific ways in which they're orchestrated. We'll cover them down the line later in the season though, don't worry!👍
We had hoed nobody would notice ... 👀 But we got found out I guess .... Please, to all the orchestral percussion players out there ... Don't be too mad on us. We are planning on episodes about percussion in a later stage of the series, maybe even in Season 2, once we have got all the fundamental basics covered. Until then, we hope you all can still enjoy the videos we are making, even if they are simplified in some regards here and there to make them not too complex esp. for beginners. 💛 🪘🪘🪘 💛
...sets down drink. opens Petrushka flips to rehearsal marker 71 .....points to bassoon, trumpet, and flute waltz ...perhaps the first step before reaching for samples should be to know the literature.
Why should that be the first step, out of interest?
Also, what drink was it? 😛
Hey Stephen. Thank you for your comment. We believe that these things do not exclude each other and we are not certain that one thing needs to come first. You can learn how to use orchestral libraries and you can learn classical music history, its composers and literature. It's just different topics, like you have different classes when your are studying music. We are offering this video series for everyone who wants to learn more about how to use orchestral samples libraries, hoping people can benefit from it and of course, hoping they like it too.
The point of the comment though was to direct anyone interested toward musical examples illustrating a critical concept for orchestral blend absent in the video: register/range. If you look at the Petrushka waltz, it directly contradicts the information in this video, precisely because of the registers and nature of the parts of the trumpet, flute, and bassoon. I get you guys are trying to sling the courses and the sample library, and that register will hopefully be covered in a subsequent video, but a familiarity with the existing literature (which instills an understanding of idiomatic writing) as a precursor to working with orchestra samples seems a much more prudent approach. Otherwise it's like trying to write a novel without having read any novels.
@@stephenlimbaugh You’re right there, and range/register are covered in other upcoming videos. It’s not really possible to do everything in one video though - we want people to have a key takeaway that can help them improve their work with programming realistic sounding mock-ups, and overall imbalance is probably the main issue I see and hear. Of course more study and knowledge of orchestral material is going to help with that too, but there will be people out there who don’t know where to start, or who are daunted by opening a score or dissecting classical music. The videos are made to be accessible to anyone and hopefully offering something to people at different points in their study of orchestration as well. It’s all free, and we’re using different libraries as we go along, never with the intention of trying to sell something. The principles should be applicable to any library or any DAW. In the end, I hope that each video topic will become a resource people can go back to like chapters in an orchestration book 👍🏻
Purple trumpet - there you are! 😂
It is also my favorite item of the series - so far .... 🟪+🎺=💜
@@virtual.orchestration Yeah, cool thing) 😁👍🏻
What if you don't compose in a DAW, nor play piano?
Let's face it, the only real need for a MIDI keyboard is if you either play piano, or you use it for programming 'beats' and such. And the really good sample libraries are created with the idea of MIDI keyboard input (especially the new Spitfire Orchestra library with Performance samples). I'm a guitar player, but I've studied music theory using the music staff to compose with, the old school method, and which I prefer. If I had to compose on piano I'd be very limited because I don't have the technical ability of a pianist. Even with a MIDI guitar I don't play 'clean' enough all the time for accurate MIDI input. Half my time would be spent with editing extra MIDI notes accidentally added while playing in a part. Also, even the MIDI keyboard can be a limiting device when trying to simulate different instruments of the orchestra, or even with trying to simulate a guitar.
At present -- I'm using Notepeformer in Sibelius. Haven't tried it yet, but I plan to export my NotePerformer as MIDI files to Cubase, or as XML into StaffPad. And if to StaffPad, I would then export all the tracks as Audio into Cubase, and mix, use different reverb, etc. I don't see coverage here about any method for those who do not play a MIDI keyboard.
If you don’t compose in a DAW then these concepts still apply, they’re the very basics of orchestration.
You’re right: Sample libraries are created with midi in mind, both in terms of keyboard layout and use of MIDI CC’s. But I don’t look at the midi keyboard like a piano - it can be, but it can also just be an input device. My keys playing is nothing to brag about. I’ll usually play lines in one at a time, and fixing notes, deleting mistakes etc. is just part of programming.
When you’re using a notation program, you’re not doing any programming, you’re relying on the program to translate your dynamics and technique markings into the sound you want. When you transfer the midi over to a DAW, you’ll need to reprogram it to get it sounding decent, there’s nothing automatic about that process. If you’re thinking about mix and reverb then you’re already way ahead of yourself at that point - it has to be music first.
You can input notes however you like, with keyboards, pads, wind controllers, or mouse and keyboard, I don’t think it makes any difference at the end of the day, other than you’ll do better with whatever you’re comfortable with.
Give me a minute ..... seven hours later .... HAHAHAHAHAHAHAHAHAHAHAAHHA
Great stuff. Only one incorrect tidbit. Bigfoot is real:)
Gems
💎💎💎
how different marketing can be...
Orchestral Tools: "we've teamed up with Berklee to bring you a free course about making orchestral mockups sound less shit"
NI product specialist (verbatim): "this sounds kinda cool, let's tweak some knobs and see what we can get out of it"
It's not only different marketing though. Also the products are a little different and the type of music (mainly) created with the products ;)
@@virtual.orchestration IMO you guys should be WAY more vocal about the fact that SINE lets users buy PARTS of a giant expensive collection rather than the whole thing at once. that's genuinely awesome, a huge selling point in my book!
Do you plan to teach orchestral textures?
This is a good questions. Sounds quite advanced. What exactly do you mean by "orchestral texture" ? What is it exactly what you are eager to know and learn ?
Thank you for that!
One little grammatical issue. It should be: "NUMBER of players." not "amount" of players.
th-cam.com/video/A6p6F1Mqrb4/w-d-xo.html
Thank you for correcting us. We try harder in the future and appreciate the community for letting us know our grammatical or any other mistakes =) Nobody is perfect 😉
Your dad say's... "Why didn't you ask him., how to play a trumpet". He would have shown you? Alex 😊.
There are only three orchestral sections? Percussion section about to end your whole career
No idea who you’re talking about 😜
@@alexlamymusic I used speech to text sorry it was way off
@@profundisconfutatis8093 it was a joke, about not acknowledging the percussion 😅
@@alexlamymusic yeah but I had to fix that, it was wayyy off. I think it said "or professional" instead of orchestral
People need to start facing some tenor clefs and Horns in D and stop faking .
It is also essential visiting rehearsals with the scores, to understand the problems of orchestral music.
You also can´t speak about balance without considering harmonic parts and function in the texture.
To consider this essential aspect mentioned you will have to write and read & play what you read, or hear it internally.
There is no fast food orchestration that is professional long term.
YOu should want first a good composition, not only good mockup.
Your mockup may sound balanced, but not your composition.
The composition is not its own recording, but the idea which gets recorded, and hopefully performed again.
Hey Emanuel, thank you for your criticism.
You may not not have noticed, but this channel is not about composing, but about Orchestration.
Moreover, you have quite a list of "have-to"s. It is all right, in a way. We believe however, that people should just get started making music when the want to and that everyone can learn things bit by bit overtime. It is debatable if all your have-tos need to be fullfilled before one can start writing orchestral music.
We do not consider the knowledge and our videos here fast food, at all. We try to create small bits of knowledge in every video that beginners are able to understand and that might also be a nice presetation and repetition of knowledge for intermediates and maybe even for the pros. In the end, knowledge grows over time anyways.
Above all, we believe that creating music should be fun and joy and inspirational and not only a heap of obligations. It can be a fight, sometimes. It needn't have to be always, though.
So we hope that you still can feel joy and fun creating music yourself 🎶
Hi Emanuel. The things you’re saying will of course help anyone on their road to becoming a better writer, or having a better understanding of music, but I have to say I disagree that people ‘need’ to do those things. Not everyone is going to have access to an orchestral rehearsal, and it isn’t a necessary first step for a beginner who is learning about the orchestra.
Also, I’ve been doing this a while now, and I have never come across a tenor clef or a Horn in D in any film score, or recording session. If somebody understands Horns, and how to orchestrate for them, that’s more important than being able to sight read their part.
I hope you join us on this venture and enjoy some of the other videos we release - I know there will be something for everyone and it would be great to hear what you think of the other topics when they’re released.