Q + A! Answers for YOUR orchestration questions!
ฝัง
- เผยแพร่เมื่อ 29 มิ.ย. 2024
- This week, Alex takes a moment to reply to some of your questions for our first Virtual Orchestration Q&A.
Thanks to everybody in the community for reaching out to us and putting your questions forward.
Virtual Orchestration is a collaboration between Berklee College of Music (Boston, USA) and Orchestral Tools (Berlin, Germany).
▬▬ Table of content ▬▬▬▬▬▬▬▬▬▬▬▬▬▬
0:00 - Intro
0:24 - Out of time and inspiration ?
1:06 - Favourite room ?
1:34 - Voicing different orchestral sections
1:55 - Multi-timbral instruments or tracks
3:30 - Tips on programming
4:59 - Layering different libraries
5:07 - Handle frustration in music creation
6:50 - Reverb in trailer music
8:04 - PC requirements for big orchstral templates
8:36 - Individual negative track delays in the same sampler?
9:10 - Alex playing the trumpet properly?
9:45 - Feel of "real" orchestral conduction
10:46 - Outro
Assets used
SFX :
The following sounds provided by: mixkit.co/
Air Whoosh
__________________________________________________
Additional Music:
“Ore Intro” by Frederik Theyssen
“Venice Infers” by Frederik Theyssen
“Magnetism” by Kevin Titz
“Patina Intro” by Frederik Theyssen
“Sketch for Bruno” by Jakob Olofsson
“Meeting Mr. Fox” by Adam Smetana
Video creation credits:
Script / video concept 📜 : Alex Lamy, Eduard Flemmer
Camera 🎥 and Editing ✂️ : Fabián Barba Hallal
Motion graphics 🎨 : Michael Logar
Hello guys.
Thank you very much for another useful lesson!
Regards, Yaroslav.
Our pleasure! Thanks for keeping watching our videos and commenting. We're really lucky to have such loyal subscribers like you, Yaroslav.
Well chosen questions, Alex! Separate articulations tracks for a given instrument to allow for different settings like negative track delays and EQ's, etc., and I've done this on occasion and something I've not used much as I'm a keyswitch guy from way back. I use almost exclusively OT libraries and I find them very well balanced between articulations. I write in. score in Dorico, it is very difficult for me to follow a melodic line which switches to a different staff for a different articulation. Using keyswitches in Dorico solve that problem - all one one staff. It seems most virtual composers write in the DAW without score so I can see how different articulation tracks is not an issue.
That makes sense, very different setups for notation programs, but I’m glad to hear your approach and the OT samples work well!
Good, fun yet informative. Ooooh man.... i have so many questions! 😇🙄👍👍
Ask away!
These are all really good questions, you chose them well! 😊 And thank you for answering them with so many details!
Oh, and- side note- I really like your personality Alex, your enthusiasm is contagious! 😂😊 You make these videos really lively and super fun to watch!
Thank you! Very kind of you to comment!
Good range of questions and useful answers!
Glad it was helpful! Thank you very much for your comment, Joe.
Bruh, loops are death fr🤣
Trumpet = blow, don't suck!!! 😊
Wise, wise words! 😂
@alexlamymusic still can't get it right. We really should get him a trumpet teacher ;)
One generally important tip for reverb is to put it on a bus.
1) It uses less CPU/RAM than engaging separate copies
2) It keeps all constituent tracks in the same virtual room/space as you adjust the parameters of the reverb
3) It gives you more flexibility in control. E.g., you can side-chain a compressor to duck the verb behind it's source then swell it to fill in when the source leaves a gap.
I started doing this but honestly it never sounded as good! I think because you still have 100% of the dry signal and so much of the reverb sound I like is a pretty full on one. But maybe I’m doing it wrong 😂
@@evanseesred
Set the 'verb to 100% wet on the bus. Adjust the main outputs--of the source channel and bus, respectively--to control the balance between the dry and wet signals.
Source --> * --> Master
\--> Verb --> * --^
* = adjust faders here
@@steamer2k319 yeah see that seems more tedious to me. Then, to control your Dry / wet your adjusting two faders
@@evanseesred
Such is life. You adjust faders to balance between different mics in the drum kit. Then to balance between drum bus and bass. Then to balance between the rhythm section vs. guitars/keys. Then vocals vs. instruments. Dry signals vs. effects is just one more layer/pairing for a mix engineer to address.
FWIW, there are tools such as automation and compression as well as techniques like carving complementary frequency ranges via EQ to help various channels mesh without constant manual volume adjustment.
Excellent and very informative video!
I really I would argue with your point on 4:49 because there is a sample player that lets you play with so much expression, you'd have a hard time distinguishing it from the real thing. So, do give Soundpaint a try.
Another question: when composing, what is the best way to go from MIDI/DAW to score? Or should it be other way around?