It’s so refreshing to hear a composer/musician talk openly about not having the ability to read or write music. There are a lot of discussions regarding how important that knowledge is with purists damning those of us who - and in my case consciously - haven’t learnt to read or write. But what is abundantly obvious - especially in the case of Mr Henson - is that music is in the head and with the help of technology it’s extremely easy to transport those ideas into something tangibly audible. I have found that some - not all - trained composers find it difficult to move away - break the rules - of what becomes a musical straight jacket. In the end I’ve found it’s not always about what you have learnt and rules but what you do with with the ability you have... Johnny ‘one note’ Guitar Watson anyone:) Your tutorials are always informs,interesting and down to earth... I really appreciate your honesty:)
@ I think it depends if you are composing melodies or parts for an orchestra or arranging. I have written for orchestra and have done simple mock ups myself that then went to an arranger.
It feels as if you are teaching information and technique taught in top music universities, this is very valuable. As a musician and composer who is not attending a music school, this is very encouraging.
This is one of my favorite videos on this channel. Helps explains how to write better as a composer, second time watching this and I learned more than the first time watching.
Thnak you so much for sharing this important information : EXPRESSION is essential in music , not only notes, not only choice of instruments . Music is emotion in motion.
This is the best explanation of orchestral programming I have seen/heard to date (and I'm 2 years late). Considering the tingling sensation I feel in my head right now, I believe there will be a marked improvement in how my strings sound. Thank you Christian 👏
I never went to music college, I'm reading music 50% maybe I will never make it where I want to be in the world of music just because of these two things you mentioned in the beginning of video but the technology allows me to do so and my passion to create music and play instruments and not just virtual ones and 'of course' wonderful Spitfire products! Great video..Thank you...
With those controls you can make your music breathing or even holding a breath. Another words, you can bring more life to your creations. Thanks, Christian. Very valuable tutorial!
I was just looking for a clean example of sound shaping with the mod wheel and expression tools found in orchestral librairies. Ended up with much more. Thank you for the small tips throughout the video, especially the hand drawing pencil. ✍
I play by ear, and new to recording, so the creation and emotional structure of an orchestral piece in Logic is most appreciated. A really enlightening tutorial Christian - thank you!
Thanks for the free masterclass. Abbey Road One is now my starting go to library. The other thing I found is that I can have many instances of Abbey Road One running at once and my computer never stutters one bit. I love it.
I knew there was a secret to this! No words to express how grateful I am with you Christian. Thanks for this and all the amazing sounds you and your team create!
Hi Christian! I recently upgraded my MIDI controller to a Novation LaunchKey 25 Mk3. It's lovely. One of the things I love most-mod and pitch wheels! I've been watching your videos for two years, seeing what you can do with your expression controls, and wishing I could do the same on my humble LaunchKey Mk2, but alas. Now, though! 😎⚡️ A few nights ago I was playing with my LABS Choir in Ableton, but with the Mk3, with the mod wheel, etc-and OMG! What a difference it made. I was so happy, @Christian. Thank you for all your inspiration! :)
Many thanks for this video. I didn't know I can play around with my knob. I mean M-Audio mini keystation volume control knob. It really makes a difference when you adjust volume within each note.
What is it they say, "it's not what you are doing wrong... it is what you are not doing." I learned all kinds of things here I'm not doing. Great video.
Brilliant and simple tutorial and very easy to understand. After 33 years of music (mostly heavy metal) I am finally getting into writing classical style music and using expressive automation. Why did I not notice this type of music more when I was so young a foolish I will never know. Cheers.
Wow. The tip to swap CC1 and cc11 to the other finger has made a big difference. The thing that really sets good orchestrators apart is mixing of articulations etc into passages and good programming for this. It would be good to see some content around this more as I think a lot of people get stuck with creating scores that are purely legato patches / string passages etc without any kind of variation ( short sections etc )
I installed this last week. Shame almost every time I use it I get the error message appear, something I don't get with all my other plugins. I'm uninstalling it as a matter of fact.
Ableton Push 1 and 2 have MPE with Ableton 11 now. Pressure only but its still dope. Spitfire also helped them out with a Brass and String quartet and an Upright Piano.
First thanx a lot for your tutorials Christian, they are really helpful! Speaking about realism in orchestra programming, you forget to mention one thing which I think is really important: when programming horns , woods and choirs we have to think about the necessity to BREATH like real musicians do. A horn player will never be capable to play a 8 bars long without breathing.. So we have to think about it ;-) Doing that, I noticed that it gives more realism to the score. All the best! (Yvan from France)
So, not gonna lie, I spent my entire night last night scouring your guy's tutorials looking at how you all use expression. Literally right now I'm practicing using cc controls the very second I saw this.
Billiant Christian. How to add emotion and feeling to the music we make. A professional presentation, a great host and the reason I changed from EastWest to Spitfire Audio. Keep up the good work.
Thanks for your time and your easy explanation. I really like how you make it clear that the important thing is to feel how those instruments would work, to put your feeling as if you were playing them. And it doesn't matter so much whether it's a high-end or low-end controller, what matters is the warmth of your intention. And if we don't always have the Pencil. I loved your explanation. Thanks a lot. We listen to each other in this Sound Universe.
Thank you so much I am so happy to learn about that wiggling thing with the modulating wheel . I was doing the same thing with my keyboard and I thought maybe something was wrong with my keyboard. I am new with all that stuff I just bought a keyboard last may and I am making music with BBC symphony orchestra. Now I know there is nothing wrong with my keyboard. Thank you so much for all the other tricks very useful
Thank-you Christian. It's very helpful to know how to create realistic phrasing. Your videos are so helpful. Also, in relation to other comments, I don't like subscription services - when you stop them you own nothing!
Thank you very much for this guide. I'm just starting my journey in music composition and am suffering from the states of mind you describe such as wondering how I will be able to play the notes and operate the faders at the same time (now I know its ok to do it separately). I love how you describe how the instruments sound (e.g. chocolatey) instead of sticking to technical terms. This makes it easier to understand as a beginner.
Thanks so much, Christian. As always I learn more from you in 30 minutes than I could in a lifetime of study (I haven't even tried Abby Road yet but I'm glad I bought it).
I developed a couple of foot pedals for my expression control. Means I can play keyboard with both hands whilst controlling with one (or both ) feet. I am then more fully engaged in the creative moment rather than adding expression later.
@@jeremyhatch1338 There are a numnber of ways to approach it. I am liivng and teaching in China so I needed to set up mine according to resources available here. Where are you based?
@@jeremyhatch1338 Hi Jeremy. I think you will have access to better resources than I. I managed to adapt a couple of pedals and hitch them up to my midi input. I reckon in the USA you will find something already made for the job. If not, let me know and we can see what will work best for you. Its worth the effort :)
So many fantastic brass bands in England. Wish somebody would hook up with some of these bands, making a sound pack with brass-sounds that actually sound like brass instruments. There's so many nuances, timbres, mutes, attack styles, playing styles... The sound of artificial brass hasn't changed in 30 years - It still sound like a band of kazoos!
I just wish some company would release a compact, inexpensive MIDI fader controller. Three or four 100mm faders, $100-$150 or so. Maybe even a fancy version with motorized faders for a bit more to get rid of the need to "give it a little wiggle" as shown in the video.
I want to add also that it's really important to know the bowing of the string... The closer to the hand the bow is touching the string, the more natural pressure is going to apply and thus, the louder dynamic (crescendo) that string will sound and vice versa, the further away from the hand the bow touches the string, the softer dynamic (diminuendo) is going to sound. When the composer understands this, he/she will know that longs & shorts will never sound equal in volume and are going to vary depending on the length and part of the bow actually touching the string.
The wiggle to set initial parameter values can also be accomplished by a "midnight-roll-over" where a number of bars are used before bar one to preset values and program changes. The bars before "midnight" mean bar 1 coincides with the start of the piece some bars forward of the track start. NB: Not all DAWs can move bar one or insert bars before bar one. This video tute was a good explanation of the two basic controllers for orchestral instruments, nice work Christian.
I just have to throw this in here. If anyone happens to have a Microsoft Surface dial or can get your hands on one for cheap, there is an amazing app called elephant that you can install which will allow you to use the surface dial as a control plugin for all of your faders and knobs and the like. It got an update recently and has an amazing amount of customization.
Great tutorial and definitely a must watch. Confirmation on what some of us were thinking. A few notable companies have tried these techniques( i won't say the names here) but it is clear to me the quality of the samples are truly first class.
EDIT: My advice here about automation mode appears to be wrong. See the comment thread below for more discussion. Original comment: He's getting the "fight fight fight" problem here in Logic because the automation mode is set to "Read". To avoid this issue in a cleaner way, set automation to "Touch" with the "Trim" option enabled, when recording new automation over a region. The pencil tool does work just fine though, of course. Personally, I usually just delete all the mod or expression data in the region and try again.
This doesn't work for me. Even though I followed your exact instructions I still get the fight fight problem.... The old automation simply doesn't disappear and interfere with the new. Any idea why and how to fix it?
@@mrmindstorms indeed it seems that I inadvertently spread some misinformation here. That's what I get for commenting away from my workstation to verify it. I'll edit my original comment so others don't try it. Just now I went through all the automation mode combinations in Logic and all of them present this problem. To me this appears to be an issue within Logic, because just now I also tested the same thing in Ableton (which I use more often) and there the automation overdubs seamlessly. This is probably why I have gotten into the habit of just deleting all relevant automation and doing a fresh take when using Logic, as I mentioned. Beyond that I also use the pencil tool a lot just to redraw curves in any case. I set it to be the alternate tool in the editor by default.
At last, I finally, know what it is? An expression controller, have seen these on many studio desks and also how to get such a feel for orchestral music.
Thank you Christian for a fantastic tutorial. Was finally able to program my old SL mk II (no more automap) and CC expression and dynamics to the faders. Wanted to know more about controlling this while playing, and you showed me that here! Looking forward to play with Originals Choir with this in my arsenal!
Amazing tutorial, I've learned a lot from just this single video! That unintentional "Aerials" Bass/Cello intro, from System of a Down at 16:22 was actually a glitch in the matrix.
I'm just going back to redo an older LOTR mockup, and now when I try to record automation over midi data, it creates jumpy automation data. It's not smooth like it used to be. It seems to be smooth when I record it over blank space in the timeline, but not when I record over a region.
I had no idea that you could record the Mod and Expression data over the top!!! Mind blown!! I know what I am doing tonight!! Thank you so much Christian!!
@@littlegeneva2536 So you just record your MIDI track then go back to the beginning and record over it adding your mod and expression. I've done it a few times and it's great!
Andy Bullemor - Composer Thanks Andy. It just recorded over the midi information, which of course results in silence and performance data erased. I guess I need to activate/deactivate a secondary setting?
On a side note, including the Logic sessions (and MIDI, for users of other DAWs) as you guys are seeming to do more often nowadays, is great. It would be _awesome_ to have these available for the walkthrough and in action videos for each product!
Fantastic tutorial as ever Christian! An interesting point, but when I'm controlling both Modulation and Expression, I have cc11 on my foot pedal and CC1 on the modwheel. It's also achievable with TouchOSC or sometimes I use my Roli Lightblock too. Loads of ways to do this but it's an invaluable lesson this one so thanks again Christian!
How about using a Roli Seaboard? The modulation and volume and other features are integrated into the material/electronics of that keyboard to create crescendos, decrescendos and color changes.
I'm guessing the answer to my question is the plugin used... (I'm using free at the moment), but... You don't explain how you recorded this automation at 10:50 without switching from read mode.... Is it just all automatically set up with these paid libraries? See this video starts off with that stuff already set up. How do I set that up? I'm using Spitfire LABS...
Great info! I've written for more than a few small orchestras (under 20 performers) and have no formal training, but self study and great videos like this are why some of us are blessed to be able to do these sort of things without the formal training. :)
Really appreciate the heart you put into your videos Christian. I am getting ready to pull trigger, but I'm concerned about your new system. My music computer is still unable to play the free BBC Orchestra. I hope your techs can help get me on track. I really like the sound of Abbey Road One!
15:25 Amazing tip, this whole part of the video. Question: do you overlap notes as well to soften the void between notes? Second question: do you use legato in a situation like that for all 5 instruments?
For some instruments you can adjust the release parameter and that can blend the transition enough w/o getting muddy. There's also the reverb parameter to add more glue too.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
"Give it a little wiggle". Invaluable advice and an important habit.
Ok, ok... I won't make a joke about this.
Indeed! haha!
....just a little bit. :P
Took me ages to clock that one initially!
indeed! We get to learn and reinforce a lot of good habits here along with great sample library programing.
It’s so refreshing to hear a composer/musician talk openly about not having the ability to read or write music. There are a lot of discussions regarding how important that knowledge is with purists damning those of us who - and in my case consciously - haven’t learnt to read or write.
But what is abundantly obvious - especially in the case of Mr Henson - is that music is in the head and with the help of technology it’s extremely easy to transport those ideas into something tangibly audible. I have found that some - not all - trained composers find it difficult to move away - break the rules - of what becomes a musical straight jacket. In the end I’ve found it’s not always about what you have learnt and rules but what you do with with the ability you have... Johnny ‘one note’ Guitar Watson anyone:)
Your tutorials are always informs,interesting and down to earth... I really appreciate your honesty:)
It's not about sticking to the rules or anything like that. What are you going to do if you'll have to write for a real orchestra?
@ I think it depends if you are composing melodies or parts for an orchestra or arranging. I have written for orchestra and have done simple mock ups myself that then went to an arranger.
It feels as if you are teaching information and technique taught in top music universities, this is very valuable. As a musician and composer who is not attending a music school, this is very encouraging.
I love this video. Christian, I’m a beginner embarking on a midlife career pivot, yet even I can see that you are truly a gift to the community.
This is one of my favorite videos on this channel. Helps explains how to write better as a composer, second time watching this and I learned more than the first time watching.
Thnak you so much for sharing this important information : EXPRESSION is essential in music , not only notes, not only choice of instruments . Music is emotion in motion.
This is the best explanation of orchestral programming I have seen/heard to date (and I'm 2 years late). Considering the tingling sensation I feel in my head right now, I believe there will be a marked improvement in how my strings sound. Thank you Christian 👏
I never went to music college, I'm reading music 50% maybe I will never make it where I want to be in the world of music just because of these two things you mentioned in the beginning of video but the technology allows me to do so and my passion to create music and play instruments and not just virtual ones and 'of course' wonderful Spitfire products! Great video..Thank you...
Keep on doing you, man. You will make it. Work hard and always believe in yourself no matter what.
@@paulaugusteofficiel Thank you!
Thank you! Amazing tutorial
Agreed! An Amazing Tutorial. Just trying to figure out how to use my Zone 2,3 & 4 Sliders for CC1 and CC11 on a Yamaha SY60 XS.
With those controls you can make your music breathing or even holding a breath. Another words, you can bring more life to your creations. Thanks, Christian. Very valuable tutorial!
Christian, you’re amazing. You’re one of the great writers AND programmers. Thanks for this.
and teachers!
I was just looking for a clean example of sound shaping with the mod wheel and expression tools found in orchestral librairies. Ended up with much more. Thank you for the small tips throughout the video, especially the hand drawing pencil. ✍
Making it easier is one thing.
Understanding it, is another.
Thank you again for BBC OS 💫
I play by ear, and new to recording, so the creation and emotional structure of an orchestral piece in Logic is most appreciated. A really enlightening tutorial Christian - thank you!
Thanks for the free masterclass. Abbey Road One is now my starting go to library. The other thing I found is that I can have many instances of Abbey Road One running at once and my computer never stutters one bit. I love it.
Please somebody tell me what is the controller he is using in this video, it looks pretty nice. Thanks in advance~
I knew there was a secret to this! No words to express how grateful I am with you Christian. Thanks for this and all the amazing sounds you and your team create!
Dude is a BEAST. I'll try this, it seems like it's wayyyy easier than drawing in automation on everything.
Hi Christian! I recently upgraded my MIDI controller to a Novation LaunchKey 25 Mk3. It's lovely. One of the things I love most-mod and pitch wheels! I've been watching your videos for two years, seeing what you can do with your expression controls, and wishing I could do the same on my humble LaunchKey Mk2, but alas.
Now, though! 😎⚡️ A few nights ago I was playing with my LABS Choir in Ableton, but with the Mk3, with the mod wheel, etc-and OMG! What a difference it made.
I was so happy, @Christian. Thank you for all your inspiration! :)
These 30 minutes went by in a flash. EXCELLENT tutorial. Thanks !!
The best orchestral tutorial on the web - and I have seen them all . Fundamental techniques one absolutely MUST use to sound authentic
Many thanks for this video. I didn't know I can play around with my knob. I mean M-Audio mini keystation volume control knob. It really makes a difference when you adjust volume within each note.
What is it they say, "it's not what you are doing wrong... it is what you are not doing." I learned all kinds of things here I'm not doing. Great video.
Brilliant and simple tutorial and very easy to understand. After 33 years of music (mostly heavy metal) I am finally getting into writing classical style music and using expressive automation. Why did I not notice this type of music more when I was so young a foolish I will never know. Cheers.
Very enlightening! A somewhat comprehensive approach to modulation - many thanks!
Wow. The tip to swap CC1 and cc11 to the other finger has made a big difference. The thing that really sets good orchestrators apart is mixing of articulations etc into passages and good programming for this. It would be good to see some content around this more as I think a lot of people get stuck with creating scores that are purely legato patches / string passages etc without any kind of variation ( short sections etc )
I installed this last week. Shame almost every time I use it I get the error message appear, something I don't get with all my other plugins. I'm uninstalling it as a matter of fact.
Defenetly thanks for the importance of having multiple volume gains, now I understand more.
Ableton Push 1 and 2 have MPE with Ableton 11 now. Pressure only but its still dope.
Spitfire also helped them out with a Brass and String quartet and an Upright Piano.
Suppppperrr tutorial. I just really wish you explained more about programming strings/brass/woodwinds with a lot of movement
Thank you Christian!
😊👍👍👍👍👍🏻👍🏻👍🏻👍🏻👍🏻👍🏻👍🏻👍🏻👍🏻👍🏻👍🏻thank You so much, Christian. Most illuminating and You are such a great teacher!
SO much easier programming the expressions afterwards!! I am a two handed player, so this is perfect!! Thank you!!!
Thanks Christian !!! Greatly appreciate this video.
First thanx a lot for your tutorials Christian, they are really helpful! Speaking about realism in orchestra programming, you forget to mention one thing which I think is really important: when programming horns , woods and choirs we have to think about the necessity to BREATH like real musicians do. A horn player will never be capable to play a 8 bars long without breathing.. So we have to think about it ;-) Doing that, I noticed that it gives more realism to the score. All the best! (Yvan from France)
So, not gonna lie, I spent my entire night last night scouring your guy's tutorials looking at how you all use expression. Literally right now I'm practicing using cc controls the very second I saw this.
Valuable - one of the best videos with real value. Well done Christian Henson. Thanks
Billiant Christian. How to add emotion and feeling to the music we make. A professional presentation, a great host and the reason I changed from EastWest to Spitfire Audio. Keep up the good work.
Fantastic tutorial on this subject! It was so needed and so well done. Thanks!
Thank you very much to show us many paths of writing music and using all tools to be more human. Great video. 🙏
When he was doing the cellos and the basses, everytime System of a Down would pop in my head! Great video!
Brilliant! I wish I had watched something like this long ago.
Today I bought my copy of Abbey Road One! Truly amazing.
This video helps a lot on how to get the max out of it. Thanks!
Thanks for your time and your easy explanation. I really like how you make it clear that the important thing is to feel how those instruments would work, to put your feeling as if you were playing them. And it doesn't matter so much whether it's a high-end or low-end controller, what matters is the warmth of your intention. And if we don't always have the Pencil. I loved your explanation. Thanks a lot. We listen to each other in this Sound Universe.
Thank you so much I am so happy to learn about that wiggling thing with the modulating wheel . I was doing the same thing with my keyboard and I thought maybe something was wrong with my keyboard. I am new with all that stuff I just bought a keyboard last may and I am making music with BBC symphony orchestra. Now I know there is nothing wrong with my keyboard. Thank you so much for all the other tricks very useful
This is really useful. I recently got feedback that my string section lacked expressive quality. So here I am. That was brilliant Christian!
This is a Master Class. It's a bummer that the MIDI files are not available. Thank you, Christian!
More than one gain stage. Now that is a superb point! Thanks Christian.
Thank-you Christian. It's very helpful to know how to create realistic phrasing. Your videos are so helpful. Also, in relation to other comments, I don't like subscription services - when you stop them you own nothing!
Thank you very much for this guide. I'm just starting my journey in music composition and am suffering from the states of mind you describe such as wondering how I will be able to play the notes and operate the faders at the same time (now I know its ok to do it separately). I love how you describe how the instruments sound (e.g. chocolatey) instead of sticking to technical terms. This makes it easier to understand as a beginner.
Thanks so much, Christian. As always I learn more from you in 30 minutes than I could in a lifetime of study (I haven't even tried Abby Road yet but I'm glad I bought it).
Great story behind at the beginning and obviously awesome valuable informations!
Around 11:00 minutes you explain that you record controller data over the music, how exactly do you do that?
I developed a couple of foot pedals for my expression control. Means I can play keyboard with both hands whilst controlling with one (or both ) feet. I am then more fully engaged in the creative moment rather than adding expression later.
I would really like to know more details about this. How does this setup work?
@@jeremyhatch1338 There are a numnber of ways to approach it. I am liivng and teaching in China so I needed to set up mine according to resources available here. Where are you based?
@@iainmackenzieUK West coast of the US.
@@jeremyhatch1338 Hi Jeremy. I think you will have access to better resources than I. I managed to adapt a couple of pedals and hitch them up to my midi input. I reckon in the USA you will find something already made for the job. If not, let me know and we can see what will work best for you. Its worth the effort :)
@@iainmackenzieUK How do you use your sustain pedal?
I received your serious suggestion. I am very grateful.
Beautifully explained, inspiring. Validating my musical illiteracy! Thank you.
Thank you for being such a great teacher!
So many fantastic brass bands in England. Wish somebody would hook up with some of these bands, making a sound pack with brass-sounds that actually sound like brass instruments. There's so many nuances, timbres, mutes, attack styles, playing styles... The sound of artificial brass hasn't changed in 30 years - It still sound like a band of kazoos!
Totally agree. None of the brass sounds in the video sounded anything like an actual brass instrument.
We really do need some Welsh brass bands and Welsh choirs!
I just wish some company would release a compact, inexpensive MIDI fader controller. Three or four 100mm faders, $100-$150 or so. Maybe even a fancy version with motorized faders for a bit more to get rid of the need to "give it a little wiggle" as shown in the video.
I want to add also that it's really important to know the bowing of the string... The closer to the hand the bow is touching the string, the more natural pressure is going to apply and thus, the louder dynamic (crescendo) that string will sound and vice versa, the further away from the hand the bow touches the string, the softer dynamic (diminuendo) is going to sound.
When the composer understands this, he/she will know that longs & shorts will never sound equal in volume and are going to vary depending on the length and part of the bow actually touching the string.
The wiggle to set initial parameter values can also be accomplished by a "midnight-roll-over" where a number of bars are used before bar one to preset values and program changes. The bars before "midnight" mean bar 1 coincides with the start of the piece some bars forward of the track start. NB: Not all DAWs can move bar one or insert bars before bar one. This video tute was a good explanation of the two basic controllers for orchestral instruments, nice work Christian.
Indeed every single cue I have ever written starts at bar 5 for this very purpose.
Best tutorial I have seen on Orchestral Programming. It is not as scary as it seems!
Hands down I learn more from this channel than most of the other musician channels put together.
Fantastic work as always!
Best tutorial on the topic I’ve seen. Thank you!
This tutorial was truly amazing. Thank you for sharing your knowledge in such a clear and concise way. Really helpful.
I just have to throw this in here. If anyone happens to have a Microsoft Surface dial or can get your hands on one for cheap, there is an amazing app called elephant that you can install which will allow you to use the surface dial as a control plugin for all of your faders and knobs and the like.
It got an update recently and has an amazing amount of customization.
Really great. Gonna share this with the Cue Tube community as it'll help them a lot I think. Thanks for your generosity to the community.
The wiggle! Thank you! I always wondered why I had that problem sometimes.
Great tutorial and definitely a must watch. Confirmation on what some of us were thinking. A few notable companies have tried these techniques( i won't say the names here) but it is clear to me the quality of the samples are truly first class.
EDIT: My advice here about automation mode appears to be wrong. See the comment thread below for more discussion.
Original comment:
He's getting the "fight fight fight" problem here in Logic because the automation mode is set to "Read". To avoid this issue in a cleaner way, set automation to "Touch" with the "Trim" option enabled, when recording new automation over a region. The pencil tool does work just fine though, of course. Personally, I usually just delete all the mod or expression data in the region and try again.
This needs to be upvoted to the top of the comment thread.
What is the "fight fight fight" problem? I'm genuinely curious.
This doesn't work for me. Even though I followed your exact instructions I still get the fight fight problem.... The old automation simply doesn't disappear and interfere with the new. Any idea why and how to fix it?
@@pedromax113 22:46
@@mrmindstorms indeed it seems that I inadvertently spread some misinformation here. That's what I get for commenting away from my workstation to verify it. I'll edit my original comment so others don't try it. Just now I went through all the automation mode combinations in Logic and all of them present this problem. To me this appears to be an issue within Logic, because just now I also tested the same thing in Ableton (which I use more often) and there the automation overdubs seamlessly. This is probably why I have gotten into the habit of just deleting all relevant automation and doing a fresh take when using Logic, as I mentioned. Beyond that I also use the pencil tool a lot just to redraw curves in any case. I set it to be the alternate tool in the editor by default.
At last, I finally, know what it is? An expression controller, have seen these on many studio desks and also how to get such a feel for orchestral music.
Thank you Christian for a fantastic tutorial. Was finally able to program my old SL mk II (no more automap) and CC expression and dynamics to the faders. Wanted to know more about controlling this while playing, and you showed me that here! Looking forward to play with Originals Choir with this in my arsenal!
Amazing tutorial, I've learned a lot from just this single video!
That unintentional "Aerials" Bass/Cello intro, from System of a Down at 16:22 was actually a glitch in the matrix.
Very useful advice, well delivered. Thank you!
I'm just going back to redo an older LOTR mockup, and now when I try to record automation over midi data, it creates jumpy automation data. It's not smooth like it used to be. It seems to be smooth when I record it over blank space in the timeline, but not when I record over a region.
This is very clear explanation thank you wel Christian.
Best training I have seen on creating music on the computer
I had no idea that you could record the Mod and Expression data over the top!!! Mind blown!! I know what I am doing tonight!! Thank you so much Christian!!
Hi Andy, how is this done in Logic - do you know?
@@littlegeneva2536 So you just record your MIDI track then go back to the beginning and record over it adding your mod and expression. I've done it a few times and it's great!
Andy Bullemor - Composer Thanks Andy. It just recorded over the midi information, which of course results in silence and performance data erased. I guess I need to activate/deactivate a secondary setting?
I was wondering what Dom Sigalas was using with his Komplete Control keyboard. Now I know. Awesome tutorial BTW.
Best tutorial on orchestral programming i've seen ever! Thank you
I can't read music either! Good to know that someone can't read music like me and made it to be a media composer. This give me hope really! Thanks :)
simply amazing how simply you are able to explain orchestral concepts. I get it now
On a side note, including the Logic sessions (and MIDI, for users of other DAWs) as you guys are seeming to do more often nowadays, is great. It would be _awesome_ to have these available for the walkthrough and in action videos for each product!
Very helpful. I'm getting more out of Abbey Road One Orchestral Foundation thanks to your programming tips. Thanks Christian.
Fantastic tutorial as ever Christian! An interesting point, but when I'm controlling both Modulation and Expression, I have cc11 on my foot pedal and CC1 on the modwheel. It's also achievable with TouchOSC or sometimes I use my Roli Lightblock too. Loads of ways to do this but it's an invaluable lesson this one so thanks again Christian!
Fantastic video that's cleared up a lot of confusion I had (and also answers a large part of "why upgrade from BBC SO Discover?").
How about using a Roli Seaboard? The modulation and volume and other features are integrated into the material/electronics of that keyboard to create crescendos, decrescendos and color changes.
This is superb!!!! Thanks so much for posting.
Amazing as always... The reason you show all technic with so much passion and honesty..
Great tutorial and flawless presentation, as always. Thank you for all the great stuff!
I have been looking for a tutorial on this subject for some time. Thanks so much, greatly appreciated and well done.
Very useful information. Thanks very much, Christian! I’ll try this out in Abbey Road One, BBCSO Pro and even on non-orchestral sounds.
I'm guessing the answer to my question is the plugin used... (I'm using free at the moment), but... You don't explain how you recorded this automation at 10:50 without switching from read mode....
Is it just all automatically set up with these paid libraries? See this video starts off with that stuff already set up. How do I set that up? I'm using Spitfire LABS...
Great info! I've written for more than a few small orchestras (under 20 performers) and have no formal training, but self study and great videos like this are why some of us are blessed to be able to do these sort of things without the formal training. :)
This is pure gold.
Very instructive video: "You're the man"!!!
Thanks for doing it and sharing the knowledge. Thanks!
Thanks for the trick with two faders! Brilliant one!
Really appreciate the heart you put into your videos Christian. I am getting ready to pull trigger, but I'm concerned about your new system. My music computer is still unable to play the free BBC Orchestra. I hope your techs can help get me on track. I really like the sound of Abbey Road One!
5:05 "the biggest number of dynamic layers" : do you plan to update the BBCSO Pro version in this way ?
Shots Fired.
15:25 Amazing tip, this whole part of the video. Question: do you overlap notes as well to soften the void between notes? Second question: do you use legato in a situation like that for all 5 instruments?
For some instruments you can adjust the release parameter and that can blend the transition enough w/o getting muddy. There's also the reverb parameter to add more glue too.
@@CLdwyer Thanks a lot!
"mellow chocolatey stuff" and "the growl" defines (low) brass to a T.