Orchestral Sounds

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MaxB

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Ok, this mp3 is a recording from a real orchestra followed by my interpretation of the same thing with virtual instruments.

I would like to hear your comments about the sounds (please, don't take care of the performance, EQ and instruments position. It was a quick recording just for test purposes).

Thanks, Max B

 
Nice work. I don't know what synths/samples you used, but the results are great!!!

Think about (for reeds) using parametric equalizers to enhance the natural formants. The lower reeds sounds organ-like unless you do this.

Also, it is quite common to program a different patch for the attack at the start beat of the bar, versus the off-beat notes / later notes in the phrase.

Try to distinguish each line's accent patterns more.

Also, differentiate between the sounds made by the first, second and third players in each section - use different patches for each, or slightly different EQ for each.

But really, you've done a great job. Your string samples are excellent indeed.
 
Originally posted by lumbago
Think about (for reeds) using parametric equalizers to enhance the natural formants.

Can you explain this? What are the natural formants for reeds?
I've listen about this in the past but it's not clear at all for me.

Also, it is quite common to program a different patch for the attack at the start beat of the bar, versus the off-beat notes / later notes in the phrase.

Please explain this too. :)
Usually I use the volume to control the attack at the start of the phrase...

Also, differentiate between the sounds made by the first, second and third players in each section - use different patches for each, or slightly different EQ for each.

Talking about EQ. To obtain this I need yo use "drastical" settings? How much decibels and where??

But really, you've done a great job. Your string samples are excellent indeed.

Thank you so much Lumbago!!
Your comments are very important for me.

Best Regards, Max B
 
Hi Max,

Sounds pretty good, but you say don't bother to comment on the performace? See, the thing is the performance aspect of it (and I don't mean interpretation here) is as important as the timbre of the instrument to get a convincing emulation. In other words if you're playing an oboe part you must think like an oboist for example.

Just using volume won't cut it because... Take a violin for example. It sounds completely different when it's played spiccato as opposed to legato, also speed and pressure of the bow affect the timbre as well. If you really wanna get anal about it, then down bow sounds different than up bow. Ideally you either want to set up your patch so that you can simulate these aspects through the use of controllers that would affect filter cutoff, envelope times, vibrato (even though I prefer to do vibrati by hand on a ribbon controller because it sounds much more natural) and such, or as lumbago suggests set up different patches for different articulations. Now, once you've setup your patch(es) capable of such articulations you must take care to play with the characteristics of the instrument in mind.

For orchestral emulations instrument (or section) placement is also very important. Care must be taken not only in the left-right aspect, but front-back aspect as well.

Good luck.
 
>Think about (for reeds) using parametric equalizers to enhance the natural formants.

Can you explain this? What are the natural formants for reeds?
I've listen about this in the past but it's not clear at all for me.

Each instrument has a "formant" - which, if you view the notes played via a frequency analyzer, represents a peak in frequency response corresponding to the resonant frequency of an instrument. Every hollow object has a resonant frequency. For reeds and brass it's about 1-2kHz. So we might boost the oboe part 1-3dB at this frequency (1.2 kHz). We might boost the bassoon part +2dB at 500Hz. We boost violin 1dB at 5kHz, Viola at 2kHz, cello 2dB at 600 hZ and double bass 3 dB at 400 Hz.

Also, it is quite common to program a different patch for the attack at the start beat of the bar, versus the off-beat notes / later notes in the phrase.

Please explain this too.
Usually I use the volume to control the attack at the start of the phrase...

Use a fast attack sound (with rosin) for the first note (to represent the bow contacting the string) then a legato patch thereafter in each phrase (without rosin).

It is not volume, but the high frequency response we are looking for on the attack.

Also, differentiate between the sounds made by the first, second and third players in each section - use different patches for each, or slightly different EQ for each.

Talking about EQ. To obtain this I need yo use "drastical" settings?

No.

How much decibels and where??

1db may be enough. So if there are three violin patches which work then assign them *all concurrently* to the violin part.

The problem with sample libraries is that all the instruments are recorded with the same microphones, and these microphones impart their character on the sound. By using parametric eq you restore some of the original character of each instrument, and in the process remove the "filter fatigue" associated with a certain sample set.

The same is true of synths - which is why an album done on all Oberheim or all Arp or all Moog or all Roland or all Korg synths adopt a certain characteristic - the filter sound begins to predominate - it's the one constant over all the patches. Multitrack the one synth enough and you'll begin to hear the "drone" associated with the superimpositions of teh filter response limitations.

Using parametric Eq subtley means that this filter or microphone response artefact is reduced. Your mixes sound more "alive" as a result.
 
Thank you very much lumbago for your precious hints!!
These will improve the quality of my recordings/mixes...

Thank you again! :)

Best Regards, MaxB
 
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