Make your PROGRAMMED HARP GLISSANDOS sound ULTRA-REALISTIC!
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- Опубліковано 4 жов 2024
- In this episode of Virtual Orchestration, Berklee Associate Professor Andreas Bjørck takes a deep dive into programming harp glissandos. He shows you the secret techniques to make your MIDI glisses sound amazing, how to configure virtual pedaling, and which EQ settings can make your glissandos even more convincing.
Virtual Orchestration is a collaboration between Berklee College of Music (Boston, USA) and Orchestral Tools (Berlin, Germany).
Credits for assets used :
The full MIDI mockup presented is a cue from
"Spirit: Untamed" (2021) (DreamWorks/Universal Pictures)
Composer: Amie Doherty
Orchestrators: John Ashton Thomas / Gavin Greenaway
Video creation credits:
Video idea and Script 📜 : Andreas Bjørck
Script Consultation 🔍 and Director 📣 : Eduard Flemmer
Camera 🎥 and Editing ✂️ : Fabián Barba Hallal
Lighting 💡 and 2nd Camera 🎥 : David Kudell
Motion graphics 🎨 : Michael Logar
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I never realised it was so complicated! 🙂
Great video Andreas. As a former student I can confirm that this approach works wonderfully and once you have done it a few times it becomes completely natural
Bonus Tips:
- The harp is diatonic. Therefore if you want a chromatic or octatonic scale, you'll need to either choose 7 notes or use two harps tuned differently.
- Harpists need time to change pedals, so the piece requires harp modulating keys quickly, you should write for two harps.
what key are most harps tuned to, C ?
@@notanotherjamesmurphy5574 There are different types of harps. The pedal, most common in symphony orchestras, are tuned to C in their default position, yes. They have 7 pedals corresponding to the diatonic note in the key of C, that can each be sharpened or flattened.
Whoa! Delete Overlaps in Cubase! How did I know that wasn't there?? That plus the Harp programming instruction makes this such a great video tutorial, thank you!
Wonderful! So usefull!
Great video! In Cubase Pro 12, you could enhance the method used for harp sample libraries without pedal settings by making a MIDI logical editor script doing the tweaks. This could come in handy if you need to use similar, but not identical, glissandos at different times in the same piece.
I want to say big thank You @Virtual Orchestration for making video which im ask so many times and we talking about :) Im more than sure that its super usefull not only for me but for hundreds composers. Fantastic work thank You very much !
I wish I had a teacher like Andreas, thank you!
Thanks for fixing the audio issues. Great video!
No problem! Great that you actually noticed it, Harriet.
Very useful content. Especially with Cubase users! A lot of these tools can be used no matter what the HW you use!
That's cool! A faster workaround for pauses between up and down motion is to use both hands, this way you can start play exactly at the same time you finish the last note on first hand.
Very clearly explained. Thanks!
Very helpful and complete - thank you!
This whole channel is amazing. Thank you!
Excellent tutorial! Thank you for making and sharing this with us. :)
That "drag your finger" technique was a major AHA for me. 😅
It's amazing what you know. However, as a harpist, at first I thought the glissando, by itself, had too many lower notes and needed to be cut by around 5 notes. It sounded a little muddy and something you may not know if you don't play. This glissando is only being played with the right hand. But then, when you played with the other instrumentation, it sounded fine.
fascinating video! so much great content in this series
Great tutorial!!
To soften the attack of the harp I would have used a compressor or a transient shaper
Excellent tutorial!
great explanations!
what a great video!, thanks for sharing this
Could you please talk about String Glissandos
Thank You Very Much!
🙂🙏
This is great, thank you!
this is very useful thank you
Nice tips.
Wow, so cool!
I believe some harp libraries (like Hollywood Harp) have specific single note samples designed for making glissandos ("Glissando Technique"). Do you think these work better than or worse than EQing the stock plucked sustain notes?
Hey Brett! :) For libraries that have that option (especially if it's really sampled that way and not just "simulated") I would definitely use those samples - but given that not all harp libraries have that option, this is a useful technique that works well for all situations. I also wouldn't let it dictate my choice in library. In other words, if there's a particular harp that has the perfect sound for what I'm doing, but no dedicated gliss technique/playable gliss samples, then I'd still pick that and EQ it.
I am enlightened 😅
I don't think the doubling of the enhormonics makes much of a difference when the harp is being used mostly as an effect, masked under the heavy orchestration. I do believe that it makes a huge difference when it's being used as a feature instrument, like the solo passages in Scheherazade.
Great!
Cool video thanks! Just a question if anyone knows, if you do different patterns than pentatonic such as 1-2-3-5-8, is it unrealistic/ not playable?
Awesome video thank you.
I had left a different comment before watching the entire video.
I have since deleted the comment as you explained either verbally or with another plugin what I had pointed out.
I wanted to let you know as a deleted comment is sometimes confusing to me as a creator.
the acepinter trick
a sphincter says what
Nice tutorial, and I appreciate the instruction, but that Cineharp tuning diagram is bonkers. They have the 3 / 4 pedals laid out like a real harp diagram but the pitches are wrong and the flat-natural-sharp placement is completely backward. I trust you're teaching your students the correct way to notate.