Working with the most Difficult Articulations for Virtual Strings.
Over 15 years ago, when I was starting to orchestrate and work with samples, convincing simulations of most pieces of classical music were not a reality yet.
The sampling technology was vastly improved compared to what came before. However, there was a long way to go until we could simulate "everything" that we conceived in our minds. That is why most composers at that time were composing according to what sounded good in their sample libraries and not following a genuine idea that they previously conceived in their mind.
Simulating classical music with virtual instruments was not a good idea, no matter how good the library and your ability were. The reason is that orchestral music was composed based on what sounded good on a real orchestra rather than a virtual one. Then, both realities were very apart from each other.
Midi orchestration today is an entirely different history. With the new development of sample libraries, we can now shape the sound of an instrument the way we want, which is comparable to the performance of a real instrument.
However, working with sample libraries requires a good dose of knowledge of midi orchestration if you want to be assertive, effective, and fast.
A minute of a scoring section of a real orchestra is yet costly, and that is why we are not supposed to test our orchestration in one. Everything must be fully set up for the performance and recording once you get into a scoring stage, from orchestration to score engraving.
In the same way, we composers should not waste our time testing our libraries. Once we start the midi programming, we have to be assertive, effective, and fast, mainly when we are programming a worldwide known masterpiece and has been interpreted by many great maestros and orchestras.
The following video contains part of what is deeply discussed in Scoring Tools Masterclass.
Enjoy!
The sampling technology was vastly improved compared to what came before. However, there was a long way to go until we could simulate "everything" that we conceived in our minds. That is why most composers at that time were composing according to what sounded good in their sample libraries and not following a genuine idea that they previously conceived in their mind.
Simulating classical music with virtual instruments was not a good idea, no matter how good the library and your ability were. The reason is that orchestral music was composed based on what sounded good on a real orchestra rather than a virtual one. Then, both realities were very apart from each other.
Midi orchestration today is an entirely different history. With the new development of sample libraries, we can now shape the sound of an instrument the way we want, which is comparable to the performance of a real instrument.
However, working with sample libraries requires a good dose of knowledge of midi orchestration if you want to be assertive, effective, and fast.
A minute of a scoring section of a real orchestra is yet costly, and that is why we are not supposed to test our orchestration in one. Everything must be fully set up for the performance and recording once you get into a scoring stage, from orchestration to score engraving.
In the same way, we composers should not waste our time testing our libraries. Once we start the midi programming, we have to be assertive, effective, and fast, mainly when we are programming a worldwide known masterpiece and has been interpreted by many great maestros and orchestras.
The following video contains part of what is deeply discussed in Scoring Tools Masterclass.
Enjoy!
I have explored everything I could, and I am impressed by the number of expressions you can create with Sample Modeling Strings.
Every CC (1, 2, 19, 26, 27, etc...) has been tested and/or modified to make Beethoven's symphony. What seems to be a lot of work becomes simple when the correct method and approach are applied.
The complete tutorial with all details is available to members of Scoring Tools Masterclass.
Every CC (1, 2, 19, 26, 27, etc...) has been tested and/or modified to make Beethoven's symphony. What seems to be a lot of work becomes simple when the correct method and approach are applied.
The complete tutorial with all details is available to members of Scoring Tools Masterclass.
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