How did you achieve that sound at 1:35 with midi instruments? As a newbie composer I have to know haha I’ve asked other composers how and they say it requires a live orchestra but you have made me second guess that notion
Thank you Payton :). I'm glad to know that you think my mockup can almost parallel the sound of an orchestra. :D That's the greatest compliment I can receive on something like this haha. However, to answer your question, I think the main thing has to do with the samples. I use Cinematic Studio Strings (CSS) and Brass (CSB) as well as Spitfire Percussion and Symphonic Woodwinds to get that sound. Those 4 libraries are what I consider the best sounding and most versatile in the market currently. However, there is indeed a lot of technical factors involved because although these are the best samples. If they are left alone without any programming, they will sound very robotic haha. All that aside, with enough tweaking, you can get them to sound like they came straight out of a concert hall. The first thing I do is apply equalisation (EQ), basically balancing the frequencies to make the sound clear. By default, CSS and CSB have a very muddy sound. You do have to apply quite a bit of high cut frequency to get it to sound crisp, especially with the violins and trumpets. However, with the lower register instruments, that's not needed as much. Spitfire woodwinds and percussion on the other hand have a very clear sound out of the box so not much EQ is needed for them. Essentially for EQ, it depends what library you have, some libraries are recorded more clearly than others, so it's up to your ears to find the right sound. What I do usually, is try and find music that solos an instrument that I'm trying to EQ to get the best sound possible. With mockups, I tend to just EQ to the sound I'm hearing from the original piece. After EQ, I will apply reverb and a technique called mid-side processing. For reverbs, I suggest using a convolution reverb. They can replicate the sound of a hall quite well and add that much needed depth to a mix. Now, usually, one reverb is not enough. That's where mid-side comes in. I will pick a reverb that replicates the sound of the stage and create a bus for it and the instruments I use it on. Then that's when I add eq to the reverb. When adding EQ to the stage reverb, the only adjustment I will make is removing all the Left Right sound and only keep the center. Then I'll add a reverb that replicates the sound of a hall and add eq to that. With that reverb, I remove the middle sound and only keep the left and right sound. When mixing these two reverbs, you get a really concise concert hall sound that will make your mix sound neither muddy nor dry. Then when it comes to the actual mockup, I will add modulation, expression and volume automation to create as many dynamic layers as possible. It's important to do this to add realism. When the instruments start, you start low and gradually go higher to the next chord, where you then go lower with the dynamics. This will make your instruments not stay at one dynamic level too much. Basically, keep that modulation wheel moving, don't let it stay too much in one place. Then theres panning. By default, your sample library will probably have recorded the instruments in their place. However, there's no harm in adding extra stereo pan to spread the mix out so there's not too much happening in the center. With this piece, I just followed the normal orchestral configuration with extra panning to the left and right for certain instruments to create the wide sound you hear. With all of this together, you hear the sound in the video. Hopefully this short crash course might have helped a bit. Do let me know if you have anymore questions or if you want clarity :)). I also have a personal email you can find in the 'about' section on my channel (I think it can only be seen on the computer) if the comments section is not enough.
@@ameyasaraf8381 Hey Ameya. Thanks! Yeah, I've been wanting to make a video showing how I do my mockups. I'm in one country and all my microphones and setup is in another. I'm waiting till I travel back before I can start making those types of videos, but I do definitely plan on doing them.
Wonderful job Sam! Instantly subscribed. One thing though - why didn't you set those notes to overlap for the main melody line on strings? I mean, I miss more realistic legato transitions there which would be normally fixed just by making the notes overlapping. Cheers!
Thanks nRG! :)) So, the reason I didn't add any legato transitions is because of a delay issue. I always set my strings to come a little earlier (about 80 ticks), but the legato samples wouldn't apply to that so it would sound very weird. Still trying to see what the problem is. Even then, I don't think it's too noticeable to the average ear especially when it crescendos.
@@SamuelStalderOST Cinematic Studio Strings is a wonderful library but latency is a really big issue and tricky for many composers if it comes to them.... I'm struggling with it myself. I usually set negative delay on them to -100 ms but with Advanced Legato patch - it's still not on time. It's because different velocities trigger different legato speeds I guess.... Recently, I discovered that if I use just Standard Legato - it IS on time. So, I think we have a choice when using this library - 1. If you want to write something relatively fast - use Standard Legato. 2. If you want more realism and you have the time (and patience) - use Advanced and tweak it as long as your ears say it sound good (cause certainly it won't be quantized to the grid, so let's not trust eyes here).
@@nRGmusicproduction Indeed haha, everything's by feeling. Thanks for the helpful tip, I shall definitely heed your advice. I never used the standard legato, but after seeing your comment, I'll definitely try it on my next mockups and compositions. And yeah, it's probably because of the velocity feature. You really do need to be as intricate as possible with advanced legato.
It's really all about adding lots of treble to the EQ band. CSS is really muffled out of the box so be liberal with the amount of high end EQ you put on the strings. Of course make sure you also lower the mids and almost cutout the low end. Allows for the frequencies to spread out and give it a nice symphonic and luscious sound.
Fantastic mockup of a piece by James Newton Howard that I really like myself and that you knew how to transcribe perfectly! 🙂I really like the overall dynamics of the mockup. Too bad there doesn't seem to be any legatos for the strings but otherwise it's a really great job Samuel! I discovered with admiration your "rescore" a few weeks ago and it totally inspired me to try myself to recreate the same piece, based I think on the same score found on Musescore, but which I I readapted for a few parts. If you ever want to give it a listen: th-cam.com/video/b5O7vaKv02Q/w-d-xo.html
Thank you Eric! That's true. No legatos on this one. Thought I'd see how CSS fares with it and it's actually alright :). Thank you for sharing and I'm so glad my rescores inspires you to do it yourself. That's all I can encourage :)). I'll have a look at it now! Can't wait.
And can you also please do The End of Our Island from Dinosaur whenever you have the time? (Take as much time as you need)
Beautiful.
Thanks JD!
Great work Samuel! :)
Thank you! Cheers!
Wow!! Beautyful Great Work.
Thank you, Tinnakorn!
Are you gonna do a breakdown of that track?
Amazing Sam 👍🏽
Thanks Pearly :D
Nice work Sam :) Greetings
Thank you Tomasz! Greetings to you too.
How did you achieve that sound at 1:35 with midi instruments? As a newbie composer I have to know haha
I’ve asked other composers how and they say it requires a live orchestra but you have made me second guess that notion
Thank you Payton :). I'm glad to know that you think my mockup can almost parallel the sound of an orchestra. :D That's the greatest compliment I can receive on something like this haha.
However, to answer your question,
I think the main thing has to do with the samples. I use Cinematic Studio Strings (CSS) and Brass (CSB) as well as Spitfire Percussion and Symphonic Woodwinds to get that sound. Those 4 libraries are what I consider the best sounding and most versatile in the market currently.
However, there is indeed a lot of technical factors involved because although these are the best samples. If they are left alone without any programming, they will sound very robotic haha. All that aside, with enough tweaking, you can get them to sound like they came straight out of a concert hall.
The first thing I do is apply equalisation (EQ), basically balancing the frequencies to make the sound clear. By default, CSS and CSB have a very muddy sound. You do have to apply quite a bit of high cut frequency to get it to sound crisp, especially with the violins and trumpets. However, with the lower register instruments, that's not needed as much. Spitfire woodwinds and percussion on the other hand have a very clear sound out of the box so not much EQ is needed for them. Essentially for EQ, it depends what library you have, some libraries are recorded more clearly than others, so it's up to your ears to find the right sound. What I do usually, is try and find music that solos an instrument that I'm trying to EQ to get the best sound possible. With mockups, I tend to just EQ to the sound I'm hearing from the original piece.
After EQ, I will apply reverb and a technique called mid-side processing. For reverbs, I suggest using a convolution reverb. They can replicate the sound of a hall quite well and add that much needed depth to a mix. Now, usually, one reverb is not enough. That's where mid-side comes in. I will pick a reverb that replicates the sound of the stage and create a bus for it and the instruments I use it on. Then that's when I add eq to the reverb. When adding EQ to the stage reverb, the only adjustment I will make is removing all the Left Right sound and only keep the center. Then I'll add a reverb that replicates the sound of a hall and add eq to that. With that reverb, I remove the middle sound and only keep the left and right sound. When mixing these two reverbs, you get a really concise concert hall sound that will make your mix sound neither muddy nor dry.
Then when it comes to the actual mockup, I will add modulation, expression and volume automation to create as many dynamic layers as possible. It's important to do this to add realism. When the instruments start, you start low and gradually go higher to the next chord, where you then go lower with the dynamics. This will make your instruments not stay at one dynamic level too much. Basically, keep that modulation wheel moving, don't let it stay too much in one place.
Then theres panning. By default, your sample library will probably have recorded the instruments in their place. However, there's no harm in adding extra stereo pan to spread the mix out so there's not too much happening in the center. With this piece, I just followed the normal orchestral configuration with extra panning to the left and right for certain instruments to create the wide sound you hear.
With all of this together, you hear the sound in the video. Hopefully this short crash course might have helped a bit. Do let me know if you have anymore questions or if you want clarity :)). I also have a personal email you can find in the 'about' section on my channel (I think it can only be seen on the computer) if the comments section is not enough.
@@SamuelStalderOST Hey! Great mock up! Your reverb trick is very interesting. Would you mind making a video on it for better understanding?
@@ameyasaraf8381 Hey Ameya. Thanks! Yeah, I've been wanting to make a video showing how I do my mockups. I'm in one country and all my microphones and setup is in another. I'm waiting till I travel back before I can start making those types of videos, but I do definitely plan on doing them.
@@SamuelStalderOST You have my deep respect that you take the time to explain to others your workflow , thank you Sam !
@@dicktempelaar Thank you Dick! How can I not when they asked so sincerely :)).
yay:D beautiful
Thanks Kathrine! Glad you like :).
Wonderful job Sam! Instantly subscribed. One thing though - why didn't you set those notes to overlap for the main melody line on strings? I mean, I miss more realistic legato transitions there which would be normally fixed just by making the notes overlapping. Cheers!
Thanks nRG! :)) So, the reason I didn't add any legato transitions is because of a delay issue. I always set my strings to come a little earlier (about 80 ticks), but the legato samples wouldn't apply to that so it would sound very weird. Still trying to see what the problem is. Even then, I don't think it's too noticeable to the average ear especially when it crescendos.
@@SamuelStalderOST Cinematic Studio Strings is a wonderful library but latency is a really big issue and tricky for many composers if it comes to them.... I'm struggling with it myself. I usually set negative delay on them to -100 ms but with Advanced Legato patch - it's still not on time. It's because different velocities trigger different legato speeds I guess.... Recently, I discovered that if I use just Standard Legato - it IS on time. So, I think we have a choice when using this library - 1. If you want to write something relatively fast - use Standard Legato. 2. If you want more realism and you have the time (and patience) - use Advanced and tweak it as long as your ears say it sound good (cause certainly it won't be quantized to the grid, so let's not trust eyes here).
@@nRGmusicproduction Indeed haha, everything's by feeling. Thanks for the helpful tip, I shall definitely heed your advice. I never used the standard legato, but after seeing your comment, I'll definitely try it on my next mockups and compositions. And yeah, it's probably because of the velocity feature. You really do need to be as intricate as possible with advanced legato.
can you tell me a little of your process of the violin 1? it has a really sweet sound tha I dont usually get with CSS
It's really all about adding lots of treble to the EQ band. CSS is really muffled out of the box so be liberal with the amount of high end EQ you put on the strings. Of course make sure you also lower the mids and almost cutout the low end. Allows for the frequencies to spread out and give it a nice symphonic and luscious sound.
半音階のハープ？？
おっとっと！ それは間違いです。 見つけてくれてありがとう！
Fantastic mockup of a piece by James Newton Howard that I really like myself and that you knew how to transcribe perfectly! 🙂I really like the overall dynamics of the mockup. Too bad there doesn't seem to be any legatos for the strings but otherwise it's a really great job Samuel! I discovered with admiration your "rescore" a few weeks ago and it totally inspired me to try myself to recreate the same piece, based I think on the same score found on Musescore, but which I I readapted for a few parts. If you ever want to give it a listen: th-cam.com/video/b5O7vaKv02Q/w-d-xo.html
Thank you Eric! That's true. No legatos on this one. Thought I'd see how CSS fares with it and it's actually alright :). Thank you for sharing and I'm so glad my rescores inspires you to do it yourself. That's all I can encourage :)). I'll have a look at it now! Can't wait.