@@Evenant Be great to see a course that combines modern production techniques alongside more traditional orchestration. Covering layering of sample libraries of the same instrument, e.g. multiple violin section sample libraries (which can give more custom sound, attack, bite, etc) or adding a solo violin (maybe also using live recordings). As well as exploring creative processing (saturation, eq, compression, reverb, etc) and processed foley sounds. Then also look at how that works with more orchestration principles like doubling with other orchestral and non-orchestral instruments i.e. synths. I have never seen a course that tackles both these areas, with most just covering orchestration from a traditional, classical context (often going too deep in my view rather than sticking to a 80/20 rule, avoid going into more niche areas). Yet I seem film scores often mixing these techniques depending on the scene.
Hi Arn! I noticed that at some point in time, you completely switched from Cubase to Ableton. Please explain why and how you can work in Ableton with all the orchestral libraries, multipatches, etc. I had trouble doing it, even on a powerful machine with much RAM. It can also be an idea for the upcoming video. I am really curious how you can handle that.
@@justinkfilms I just found a workflow that works well for me, and it was largely to working more and more on non orchestral music - I still have Cubase 13 and have been dabbling in using it for larger orchestral templates - but we’ll see… if I had to pick just one it would be Ableton all the way and I’m soo much faster in it now, and mixing and producing is a dream. Great idea for a video!
@@trackhero2714 no phrasing in winds, no place for breaths, notes overlapping, not balanced, no divisi. If you listen to real orchestration you will instantly hear that this is amateur hour. If you want to add strings up an octave, you don't just double your string section size.
Oh yes - the mockup, balancing, mix, and orchestration is really poorly done in this example, no doubt. But that's because the idea stems from the creative exercise demonstrated in the last video where the intention even is to freely write within a limitation in just 30 minutes - WITHOUT worrying about orchestration, realism, mix, or anything else. I even encouraged attempting to make something bad on purpose to break out of creative blocks. Realism and orchestration comes later. If this were intended to be an even roughly finished orchestration, all your points would be spot on.
@@tonyr.4778 Two points I would make -- a) this is not an orchestration or production lesson, this is a quick tip about layering sounds with a speedwrite. and b) sometimes you dont have to be a purist, I mean this is a hybrid track, you don't always have to treat the orchestra like a 'real' instrument unless that is your goal. I agree if you are thinking from a traditional orchestration POV, but that is one limited perspective. Obviously that makes sense in an organic, orchestral setting, but thats not always the goal.
Great lesson. Love it. Some percussion lessons like this would be great.
yeaaa
Thank you Arn for sharing this lesson. Also, It would be great if you could do a 2 or 3 day workshop on strings layering and arrangements.
Great suggestion, will think about something like this!
@@Evenant Be great to see a course that combines modern production techniques alongside more traditional orchestration. Covering layering of sample libraries of the same instrument, e.g. multiple violin section sample libraries (which can give more custom sound, attack, bite, etc) or adding a solo violin (maybe also using live recordings). As well as exploring creative processing (saturation, eq, compression, reverb, etc) and processed foley sounds.
Then also look at how that works with more orchestration principles like doubling with other orchestral and non-orchestral instruments i.e. synths.
I have never seen a course that tackles both these areas, with most just covering orchestration from a traditional, classical context (often going too deep in my view rather than sticking to a 80/20 rule, avoid going into more niche areas). Yet I seem film scores often mixing these techniques depending on the scene.
@@Evenant superb! ❤️
Thank You!
Love it, nice, simple and impactful
Cheers Mark!
Hi Arn! I noticed that at some point in time, you completely switched from Cubase to Ableton. Please explain why and how you can work in Ableton with all the orchestral libraries, multipatches, etc. I had trouble doing it, even on a powerful machine with much RAM. It can also be an idea for the upcoming video. I am really curious how you can handle that.
@@justinkfilms I just found a workflow that works well for me, and it was largely to working more and more on non orchestral music - I still have Cubase 13 and have been dabbling in using it for larger orchestral templates - but we’ll see… if I had to pick just one it would be Ableton all the way and I’m soo much faster in it now, and mixing and producing is a dream. Great idea for a video!
@@Evenant Thanks for the reply! This makes sense, Ableton is a great software, and I also use both programs for different tasks. Cheers!
So bad, on multiple fronts.
Like what? Be specific then.
@@trackhero2714 no phrasing in winds, no place for breaths, notes overlapping, not balanced, no divisi. If you listen to real orchestration you will instantly hear that this is amateur hour. If you want to add strings up an octave, you don't just double your string section size.
Oh yes - the mockup, balancing, mix, and orchestration is really poorly done in this example, no doubt. But that's because the idea stems from the creative exercise demonstrated in the last video where the intention even is to freely write within a limitation in just 30 minutes - WITHOUT worrying about orchestration, realism, mix, or anything else. I even encouraged attempting to make something bad on purpose to break out of creative blocks. Realism and orchestration comes later. If this were intended to be an even roughly finished orchestration, all your points would be spot on.
@@tonyr.4778 Two points I would make -- a) this is not an orchestration or production lesson, this is a quick tip about layering sounds with a speedwrite. and b) sometimes you dont have to be a purist, I mean this is a hybrid track, you don't always have to treat the orchestra like a 'real' instrument unless that is your goal.
I agree if you are thinking from a traditional orchestration POV, but that is one limited perspective. Obviously that makes sense in an organic, orchestral setting, but thats not always the goal.