So, really, this is a digital composing master class hidden in a 54 minute UA-cam video. Holy mackerel! Can’t thank you enough for taking the time and effort putting this out in the world. Amazing and essential.
Would love a big fat guide to mixing and mastering, just a quick walkthrough for orchestra and also on your hardware synths!! This is a great video as always, I don't mind the length of the video or the depth of the explanations, I enjoy it ^^
You're certainly right about Rule #1 being "Be familiar with a real orchestra". I have been involved in amateur orchestras for a large part of my life (playing 'cello), and have listened to orchestral music for all of my life, which stood me in very good stead now that I have BBCSO Core. Edit: I've just read your questions and answers in the video description. The question "Do you work this out by ear or use scores?" struck me, because back in 1984, I was approached by the conductor and leader of the local amateur orchestra. They were wanting to do the Swan Lake suite by Tschaikovsky as the last item on their upcoming concert, particularly with the impressive Finale - a memorable finish to a concert for sure. Only one slight problem: while they were able to get the music for all of the other pieces in the Swan Lake suite, they could not get the music for the Finale anywhere in the world for love or for money. Remember, this was 1984. There was no Internet. To get scores that you didn't own, you had to borrow them from other orchestra's libraries. As a last resort, they approached me, as they knew I had Absolute Pitch (meaning I can tell what notes are, just by listening to them with no other reference). They asked me if I could write out the score, from a record. It took a week (bear it in mind that I had to write and correct everything by hand), but I did it. When I presented him with the completed score, that conductor looked like he'd just witnessed the impossible! He had fully expected a call saying that I couldn't do it.
Hi Alex. You obviously have financial resources that many (most?) of your potential viewers lack, but the principles you encompass are important guides for anyone working with orchestral libraries big or small, costly or free. The most important statement you make is, listen to live orchestras as much as possible as your starting point - also a continuing reference point. Apart from that, I am stunned at the amount of work that lies behind this video, it is something that every creator of computer sourced orchestral works should see. Thank you for what I have gained.
That's true - not many youtube video makers bother with considering the experience of the viewer. They just literally BUMBLE through, with no preparation, making you wait while they figure out or correct things, find & load files, "hum" and "hah", trying to find the right words, etc. Then when they finally stop tediously pointing out the obvious and say something you didn't already know, they blurt it out, or play it so fast, you miss half of it, and have to play it over 12 times to figure out what they did or said. And worst of all, they TALK about music endlessly with no examples of what they're talking about. "Talking about music is like dancing about architecture" is one of my favorite quotes.
Yes, absolutely. When a real orchestra plays together every note and every section interacts in the room. Samples are all isolated and don't do that. So any tricks to blend it back together and trick the ear help the realism. Vinyl/tape plugins help blur the edges and glue it together a bit in that way.
Hi Alex, as a retired cranky old man who's taken to virtual orchestras your video is absolutely fabulous! Thankyou :-) Oh yes, one more thing, I'm so pleased you were using Cubase, it makes my life so much easier!
Young man, your voice, alone, is so pleasing. However, your scholarship, ear, and its application is what makes your music so beautifully real. Thank you for giving me that goal to shoot for.
Apart from the obvious (that this is really a masterclass), one great thing about this video: levels! With so many videos I need to keep riding the volume knob, as the voice is usually quiet while the DAW is usually massively loud. You got yourself a perfect volume balance here which is rare and makes life soooo much easier... so apart from the obvious, thank you for paying this much attention to... well, basics :-D
The BEST tutorial of its type on You Tube. PERIOD. A thousand thanks for the selfless help to others. Another tutorial on building your template with the myriad libraries you are utilizing would be extremely helpful although tedious to produce. Again many thanks Alex. Keep them coming !- Bob
Thanks Bob, glad it was of use. I don't actually use templates, I load up sounds as I need them. I know others who have very clever templates, so perhaps I should look into it.
This is simply stunning! I can’t thank you enough for taking the time and effort for creating this video and sharing it. It’s not an exaggeration to say this is one of the best videos I’ve seen on UA-cam.
I just wanted to say thank you for this incredible resource you have produced! I hope we get to see some of the programming being done on the patches too in the near future. This is probably one of the best in-depth overviews I've seen around on virtual orchestration techniques. Cheers and all the best to you, sir!
Thank you Alex for your insights. Our craft is exceedingly uncommon in the modern age, and it's good to find a concise masterclass like this by someone who is actually getting his hands dirty with a modern workflow. Cheers!
OMG Alex!! Thank you for this incredible video. You have become one of my favorite people on UA-cam. I'm composing an orchestral album and writing a thesis. And of course you'll appear in the credits.
I’ll be watching this several times, so many good tips and techniques, whether you’re working on a bigger arrangement or a simpler string part for a Pop song, and everything in between.
I learned so much about music from this video, and I don't even have computer set up for music yet. Just a guitarist who has always relied on others for mixing for recordings, I discovered your channel because I am getting into synths. Thank you for this.
Wow, this is an amazing insight into the sampled orchestra! Good on you Alex for taking the time to do these really informative videos. I’ve learned so much! 👍👍👍
I am currently working on a project where, from Synthesizers, I build a patch of every tool I need to emulate in an orchestra, and then recreate the piece using my synths. Naturally, realism isn't the goal, it's an exercise in sound design and a "cartoon version" of the original, but I'm having a lot of fun. That being said, I've just been hit in the face by your explanation of tempo mapping. In my project I stretched the original song to make the tempo more constant in my session because it was driving me insane to perform and figure out the parts, and it didn't occur to me I could actually tempo map and make my DAW adapt to the push and pull of the original piece. Continuing the viewing now, but I'm very happy to have stumbled upon your video.
Great video! Just finished and took good notes. My orchestra thanks you. My request is for more detail on your groups and effects on the groups (eqs, compression, reverb) to get your clean realistic sound. But take your time with that, let us get to work with the info you've given us :)
Thanks Zak. Thanks for the feedback. I thought I covered what I was using on the channels and why. What details were you after about EQ, compression, reverb etc? I'll try to answer.
Alex Ball Yes you definitely touch these subjects. But it was a tease! I'll list some questions that came to my mind, not that I want you to answer, but to give you an idea of what details you could hit on the future. Should each instrument tickle a compressor at only at ff? High attack/release on the group compressors? Dynamic compression on the master? How do we get realistic reverb? Per instrument, per group, on the master? 5 second decay or 1 measure decay? Pre delay? Same settings on each instrument? Put in the full signal or only -15dB? Do you eq each instrument, or only groups? What range do you cut for the violins? Brass? Why bring out the highs on perc? Do the recorded orchestral effects bypass reverb and eq? What order should the signal flow, or are these all in parallel? Etc... This video sprinkles in big picture concepts for all these throughout. A more consolidated look into the specific details for these effects would be another great resource for your students.
Thanks so much for all the work you put into your content! And to top it off answering every little question! To match your dedication for teaching us, all your students have an obligation to produce equally fantastic original orchestral mockups :)
Thank you so much for this! This is probably the most useful tutorial of its kind that I've seen (and I've watched MANY). I compose for the love of it, and have no ambitions to make it a profession, but I want to be the best I can. Since my work will most likely never be played by an actual orchestra, these kinds of techniques are of tremendous value to me. BTW, I LOVE the Vertigo remake. Bernard Herrmann is my favorite film composer and Vertigo is among my favorite scores. Thanks again.
I'm not trying to advertise here but I prefer making music with free stuff, so for realistic orchestral stuff I use the Versilian Std Chamber Orchestra 2 VST (aka VSCO2) I use the free version, but it still has all I need including dynamics, round robins and keyswitches for different articulations. I can't sound quite as real as the music in these videos but I can still come close and still not sound like a Super Nintendo. I don't have a penny to spend so I can't afford anything that's not free. Also because I can't stand kontakt.
VSCO2 is made with samples that were played by college students and professionally recorded but not in beautiful and expensive halls, so are a step below those mentioned on the video. They are very dry so when using them work with good reverbs, there are many free ones, to make them come alive. A good 'hall' reverb can work wonders. VSCO2 is also a chamber orchestra, so it isn't intended to be 'big', but very personal. You might also try the Karoryfer Cello and Double Bass and the LDK1609 Violin to beef up your free sting collection. The Sonatina Orchestra is older, but big and wet for a different sound. As mentioned below VPO is a nice curated and programmed orchestra in SFZ.
@@captainvoluntaryistthestat3207 The free stuff is meant for you to grow out of. I suggest Spitfire and Berlin for you and as you continue live orchestras just like all successful composers.
Absolutely epic video - easily one of the best on UA-cam! You really have mastered the use VST instruments. I've watched a couple dozen of your excellently videos recently. I've been trying to work out how you get the many individual MIDI parts into Kontakt on a large Orchestral project. I think it would be extremely time consuming to input every MIDI part by hand, even for one as talented as you. I imagine you first convert the parts into MIDI from a score, perhaps in PDF format. Then paste them into Kontakt so you can work there to get them sounding just right. Can you please detail your work flow, and software you use for this process? In case you're wondering, a couple days ago I happened across your video "Land of the Rising Sound | A Roland Retrospective." I loved it, and thought this is the work of a brilliant videographer and historian. Then yesterday, I saw a link to this Virtual Orchestra Guide, and even though it was rather long, I decided to watch it, as it sounded like just what I was looking for. After having my mind blown by it, I decided to go look at your channel to see what other gems you may have created. To my astonishment, there is your Roland retrospective! When I stumbled upon Rick Beato's channel, I felt like I discovered a gold mine. Now, with discovering your channel, I feel like I hit the Lotto. I don't know how I got to be this lucky, but I can't thank you enough for your immense generosity in sharing your work, tremendous talent, insights, humor, and teaching ability on UA-cam. You and Rick are awe inspiring and inspirational.
Yup. Both of those. Arrangement too. This tutorial will help a lot. I like your observation that some sections of the orchestra will be more difficult to hear as the brass gets louder. This is what happens because of a little thing called "physics", yet modern technology allows us to hear everything in full detail - a sort of HDR for audio. I'm a fan of the realistic approach so it's nice to demonstrate to my students that what they are hearing as a "bug" in the mix is actually a "feature" of real life!
Yes, that's exactly it. The sound waves all blend and interact in the room but samples are unnaturally isolated. So it's a case of trying to reintroduce that in the mix.
Realy usefull video, Alex. (Yes, I dig in your channel...) For those who don't have orchestral "toolkits", like the Spitfire Bernard Herrmann Toolkit, I have a quick tip: You can prepare in advance some of the usual intruments combinations in your DAW and save them as user patches, like "trumpet+xylo", "bass trombone+trombones+trumpets", "harp+celeste", "col legno violins +stracat. flutes", etc... I mainly use BBC SO which is strictly an orchestra and doesn't have these premades stacks thus it saves me a lot of time when I compose and gives me some ideas from time to time. Regarding the contrabass I also tend to use some mid-side EQ. They're often, and classicaly, located on the right and some bits of mid-side EQ help me ro recenter quite a bit their low frequencies. It's maybe less realistic, "not like the real one", but the final mix feel "easier".
Thanks. Yes, I'm tempted by the Bernard Hermann Toolkit sounds great. Thanks for the tips with patches and I agree the left / right treble to bass thing is always a bit of a challenge in a recording environment when you want bass in the middle. I know some people use a sine wave sub oscillator doubling the bass and sat dead centre for that job. You feel it without hearing it if you see what I mean.
@@AlexBallMusic I've never used the centered sub sine trick in my orchestral works, I'll give it a try. And on my side I've heard in some orchestral recordings for movie soundtracks the double bass were physicaly relocated in the center of the orchestra. (But for certain moments in a piece it can be a problem as the attacks (with high harmonics) of the bass on the right have to answer/counterpoint/balance the attacks of the "high strings section" on the the left.)
I'm back here. I've completed one of my sound design project with only partly satisfying results, but I'm glad I've completed it. I've started a new one which is faring much better than the first one: with my learnings of the previous project I'm building much better patches, I have a much better project workflow to control the sounds, and I'm staying on top of my gain staging. I'm hoping to get much better results. After these 2 projects I thought maybe I'd get myself real orchestral libraries to have a go at the real thing, but man... the Spitfire ones are 600 euros a piece ! Every complementary library is like 300 bucks, if I want to have a full orchestra, I'll need to sink in 2000 bucks at least, and that's kind of steep.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
For Composers of ALL breadth and width, this is arguably THE most important video on UA-cam!!!!
The greatest tutorial ever, raised the bar for everyone.
But what about composers with different girth.
Man.....those eyebrows......like 2 snakes on steroids
@@XiyuYang Oooh Matron!
So, really, this is a digital composing master class hidden in a 54 minute UA-cam video. Holy mackerel! Can’t thank you enough for taking the time and effort putting this out in the world. Amazing and essential.
Very well said!!!
Amen!
Would love a big fat guide to mixing and mastering, just a quick walkthrough for orchestra and also on your hardware synths!! This is a great video as always, I don't mind the length of the video or the depth of the explanations, I enjoy it ^^
You're certainly right about Rule #1 being "Be familiar with a real orchestra". I have been involved in amateur orchestras for a large part of my life (playing 'cello), and have listened to orchestral music for all of my life, which stood me in very good stead now that I have BBCSO Core.
Edit: I've just read your questions and answers in the video description. The question "Do you work this out by ear or use scores?" struck me, because back in 1984, I was approached by the conductor and leader of the local amateur orchestra. They were wanting to do the Swan Lake suite by Tschaikovsky as the last item on their upcoming concert, particularly with the impressive Finale - a memorable finish to a concert for sure. Only one slight problem: while they were able to get the music for all of the other pieces in the Swan Lake suite, they could not get the music for the Finale anywhere in the world for love or for money. Remember, this was 1984. There was no Internet. To get scores that you didn't own, you had to borrow them from other orchestra's libraries. As a last resort, they approached me, as they knew I had Absolute Pitch (meaning I can tell what notes are, just by listening to them with no other reference). They asked me if I could write out the score, from a record. It took a week (bear it in mind that I had to write and correct everything by hand), but I did it. When I presented him with the completed score, that conductor looked like he'd just witnessed the impossible! He had fully expected a call saying that I couldn't do it.
Hi Alex. You obviously have financial resources that many (most?) of your potential viewers lack, but the principles you encompass are important guides for anyone working with orchestral libraries big or small, costly or free. The most important statement you make is, listen to live orchestras as much as possible as your starting point - also a continuing reference point. Apart from that, I am stunned at the amount of work that lies behind this video, it is something that every creator of computer sourced orchestral works should see. Thank you for what I have gained.
That's true - not many youtube video makers bother with considering the experience of the viewer. They just literally BUMBLE through, with no preparation, making you wait while they figure out or correct things, find & load files, "hum" and "hah", trying to find the right words, etc. Then when they finally stop tediously pointing out the obvious and say something you didn't already know, they blurt it out, or play it so fast, you miss half of it, and have to play it over 12 times to figure out what they did or said.
And worst of all, they TALK about music endlessly with no examples of what they're talking about. "Talking about music is like dancing about architecture" is one of my favorite quotes.
Love your use of the vinyl plugin to add just a little bit of pitch waver! Never thought to do that - really adds to the realism!!
Yes, absolutely. When a real orchestra plays together every note and every section interacts in the room. Samples are all isolated and don't do that. So any tricks to blend it back together and trick the ear help the realism. Vinyl/tape plugins help blur the edges and glue it together a bit in that way.
Hi Alex, as a retired cranky old man who's taken to virtual orchestras your video is absolutely fabulous! Thankyou :-) Oh yes, one more thing, I'm so pleased you were using Cubase, it makes my life so much easier!
Young man, your voice, alone, is so pleasing. However, your scholarship, ear, and its application is what makes your music so beautifully real. Thank you for giving me that goal to shoot for.
Top notch stuff dude. Love it!
Thanks Ashton! That's praise indeed from the score master.
Apart from the obvious (that this is really a masterclass), one great thing about this video: levels! With so many videos I need to keep riding the volume knob, as the voice is usually quiet while the DAW is usually massively loud. You got yourself a perfect volume balance here which is rare and makes life soooo much easier... so apart from the obvious, thank you for paying this much attention to... well, basics :-D
really fascinating and useful to see all of the details in the DAW and mix, thanks!
The BEST tutorial of its type on You Tube. PERIOD. A thousand thanks for the selfless help to others.
Another tutorial on building your template with the myriad libraries you are utilizing would be extremely helpful although tedious to produce.
Again many thanks Alex. Keep them coming !- Bob
Thanks Bob, glad it was of use. I don't actually use templates, I load up sounds as I need them. I know others who have very clever templates, so perhaps I should look into it.
This is simply stunning! I can’t thank you enough for taking the time and effort for creating this video and sharing it. It’s not an exaggeration to say this is one of the best videos I’ve seen on UA-cam.
Incroyable merci
Merci de m'avoir fait découvrir ! :) Je sais pas si tu partages souvent ces contenus sur Twitter quand tu les trouves, mais je t'y encourage O:)
I just wanted to say thank you for this incredible resource you have produced! I hope we get to see some of the programming being done on the patches too in the near future. This is probably one of the best in-depth overviews I've seen around on virtual orchestration techniques. Cheers and all the best to you, sir!
Thanks, glad it's useful. I do have more tutorials and analytical things coming up.
WooWhoo! Can't wait! :)
Thank you Alex for your insights.
Our craft is exceedingly uncommon in the modern age, and it's good to find a concise masterclass like this by someone who is actually getting his hands dirty with a modern workflow.
Cheers!
I really love that old sound and its something i've struggled with orchestral pieces. I really appreciate the insight into how you achieve it.
No problemo.
This is very generous of you. Thank you, Alex!
You're welcome!
OMG Alex!! Thank you for this incredible video. You have become one of my favorite people on UA-cam. I'm composing an orchestral album and writing a thesis. And of course you'll appear in the credits.
Was funny the other day when you asked for this, good timing!
Send over your album when you have it. Be interested to hear.
Thank you, Alex, for taking the time and sharing the video. Its mind-blowing!
I’ll be watching this several times, so many good tips and techniques, whether you’re working on a bigger arrangement or a simpler string part for a Pop song, and everything in between.
I learned so much about music from this video, and I don't even have computer set up for music yet. Just a guitarist who has always relied on others for mixing for recordings, I discovered your channel because I am getting into synths. Thank you for this.
Alex, this is huge information to absorb, thx for the video
Wow, this is an amazing insight into the sampled orchestra! Good on you Alex for taking the time to do these really informative videos. I’ve learned so much! 👍👍👍
Thanks Bob!
It's wonderful to finally see all your programming. Thank you so much for sharing this!
Pleasure
I am currently working on a project where, from Synthesizers, I build a patch of every tool I need to emulate in an orchestra, and then recreate the piece using my synths. Naturally, realism isn't the goal, it's an exercise in sound design and a "cartoon version" of the original, but I'm having a lot of fun.
That being said, I've just been hit in the face by your explanation of tempo mapping. In my project I stretched the original song to make the tempo more constant in my session because it was driving me insane to perform and figure out the parts, and it didn't occur to me I could actually tempo map and make my DAW adapt to the push and pull of the original piece.
Continuing the viewing now, but I'm very happy to have stumbled upon your video.
Great video! Just finished and took good notes. My orchestra thanks you. My request is for more detail on your groups and effects on the groups (eqs, compression, reverb) to get your clean realistic sound. But take your time with that, let us get to work with the info you've given us :)
Thanks Zak. Thanks for the feedback. I thought I covered what I was using on the channels and why. What details were you after about EQ, compression, reverb etc? I'll try to answer.
Alex Ball Yes you definitely touch these subjects. But it was a tease! I'll list some questions that came to my mind, not that I want you to answer, but to give you an idea of what details you could hit on the future.
Should each instrument tickle a compressor at only at ff? High attack/release on the group compressors? Dynamic compression on the master?
How do we get realistic reverb? Per instrument, per group, on the master? 5 second decay or 1 measure decay? Pre delay? Same settings on each instrument? Put in the full signal or only -15dB?
Do you eq each instrument, or only groups? What range do you cut for the violins? Brass? Why bring out the highs on perc?
Do the recorded orchestral effects bypass reverb and eq? What order should the signal flow, or are these all in parallel? Etc...
This video sprinkles in big picture concepts for all these throughout. A more consolidated look into the specific details for these effects would be another great resource for your students.
Thanks so much for all the work you put into your content! And to top it off answering every little question! To match your dedication for teaching us, all your students have an obligation to produce equally fantastic original orchestral mockups :)
No problem. And I'd love it if people starting making mock ups and posting them. Be interesting to see if these ideas work for others.
Congratulations! Great video! Realist sound, articulations, modulations... Thanks for sharing. 😉
Thanks. Glad you liked it. 😀
This video is absolutely everything!
Thank you so much for this! This is probably the most useful tutorial of its kind that I've seen (and I've watched MANY). I compose for the love of it, and have no ambitions to make it a profession, but I want to be the best I can. Since my work will most likely never be played by an actual orchestra, these kinds of techniques are of tremendous value to me. BTW, I LOVE the Vertigo remake. Bernard Herrmann is my favorite film composer and Vertigo is among my favorite scores. Thanks again.
Thanks Wing. Glad it's of use!
Herrmann - pretty iconic composer. Love his sound. Might do another remake of his at some point.
Thanks Alex, this is a very well done video guide to using a Virtual Orchestra, super helpful.
Glad to be of service.
this is next level! Must take so much time. crazy respect mate
Thank you so much for your utterly spiffing contribution! I think you're a wonderful musician!
Thanks Simon!
Well done video, thanks for taking the time! Top work
Wow! thanks for this video man! Such an inspiration!
Thanks! Hope it's of use.
Wow wow wow. WOW! Thanks for this.
Wow! This is very good! Many thanks!
your channel's literally treasure. thank you for all of this sir
Very helpful guide. Thanks Alex!
Brilliant! Thanks so much for your generosity in putting this together. So many golden tips here.
I'm not trying to advertise here but I prefer making music with free stuff, so for realistic orchestral stuff I use the Versilian Std Chamber Orchestra 2 VST (aka VSCO2) I use the free version, but it still has all I need including dynamics, round robins and keyswitches for different articulations. I can't sound quite as real as the music in these videos but I can still come close and still not sound like a Super Nintendo. I don't have a penny to spend so I can't afford anything that's not free. Also because I can't stand kontakt.
Yeah me broke too. I need to use that plug in more.
Don't forget VPO3 (Virtual Playing Orchestra)!
VSCO2 is made with samples that were played by college students and professionally recorded but not in beautiful and expensive halls, so are a step below those mentioned on the video. They are very dry so when using them work with good reverbs, there are many free ones, to make them come alive. A good 'hall' reverb can work wonders. VSCO2 is also a chamber orchestra, so it isn't intended to be 'big', but very personal.
You might also try the Karoryfer Cello and Double Bass and the LDK1609 Violin to beef up your free sting collection. The Sonatina Orchestra is older, but big and wet for a different sound. As mentioned below VPO is a nice curated and programmed orchestra in SFZ.
the free stuffs all sound garbage.
@@captainvoluntaryistthestat3207 The free stuff is meant for you to grow out of. I suggest Spitfire and Berlin for you and as you continue live orchestras just like all successful composers.
A great insight into your methods. Very inspiring, cheers.
This is brilliant, thanks for taking the time to put this together!
Glad it was of use.
Muito bem. Obrigado pela generosidade em compartilhar seu conhecimento.
Just brilliant! Thanks very much Alex!
You're welcome.
Alex Ball, your videos are really thorough and inspiring. Thank you.
Added one more talent to your CV, Instructor ! Thank you so much Alex - this is Fantastic..
thanks so much for doing what you do. Quality content, superb production and style.
Glad you enjoyed it. Thanks for stopping by.
This is by far one of the best videos for Cubase users ever !
Thank you for this fabulous course! I am going to follow your advice and get the plug-ins you suggest.
Thank you very much for showing us how to do this. Your covers are the most realistic virtual orchestra music I've ever heard! :D
Thanks very much!
Amazing video! I have been looking for a library that can do proper Measured Trills for SO long. Thanks for sharing!
This has been a absolut joy to watch - One of the best spent hour on youtube !
a fantastic video, thank you!
Great informative reference video! Thanks a lot 👍
you are a god. thank you so frickin much King
You’re very talented and very generous!!
Great and helpful Video - Bravo
This is friggin’ amazing!!!
This is invaluable. I'll be coming back to watch this through again from time to time.
Thanks!
This is a really great, detailed video. Should be on a science channel on TV!
Thank you! Very interesting and helpfull! You allways explain difficult things in such an easy and fascinating way that it's hard not to understand.
Thanks. Glad it came across that way.
Thanks a lot for this video! I'll definitely watch out for the next ones
Thanks Asaf.
Hola Alex,Domingo from , Republica Dominicana, Thanks very much this is a very important topic ,Gracias
This was very helpful. Thank you.
I didn't expect Thunderball there! Great video! =)
Thank you!!
This is just so enjoyable to hear it explained by such a pro. Thank you for your efforts, man.
Super well done and extremely helpful! Thanks Alex.
Glad it's helpful. Thanks for dropping by.
Absolutely epic video - easily one of the best on UA-cam! You really have mastered the use VST instruments.
I've watched a couple dozen of your excellently videos recently. I've been trying to work out how you get the many individual MIDI parts into Kontakt on a large Orchestral project. I think it would be extremely time consuming to input every MIDI part by hand, even for one as talented as you. I imagine you first convert the parts into MIDI from a score, perhaps in PDF format. Then paste them into Kontakt so you can work there to get them sounding just right. Can you please detail your work flow, and software you use for this process?
In case you're wondering, a couple days ago I happened across your video "Land of the Rising Sound | A Roland Retrospective." I loved it, and thought this is the work of a brilliant videographer and historian. Then yesterday, I saw a link to this Virtual Orchestra Guide, and even though it was rather long, I decided to watch it, as it sounded like just what I was looking for. After having my mind blown by it, I decided to go look at your channel to see what other gems you may have created. To my astonishment, there is your Roland retrospective!
When I stumbled upon Rick Beato's channel, I felt like I discovered a gold mine. Now, with discovering your channel, I feel like I hit the Lotto. I don't know how I got to be this lucky, but I can't thank you enough for your immense generosity in sharing your work, tremendous talent, insights, humor, and teaching ability on UA-cam. You and Rick are awe inspiring and inspirational.
So informative...Thanks Alex. This is exactly what I've been looking for.
Este video es oro puro! Mil gracias Alex!!!! Un abrazo desde argentina maestro!
Holy cow - What an invaluable wealth of overwhelming information. Such a gift ~ Thank you my friend 🖖🏾
Generous, fantastic & insightful - glad I stumbled upon it!
You’re an absolute modern music magician.
Thank you for this great learning material!
Gold mine. Thanks!
I am more used to your videos on synths. this one is a surprise and a wonderful one. great. more of thi splease.
thx alex. great info. j.
This is a great video, extremely helpful.
You are a huge inspiration to my writing. I'm so glad I found this channel.
this is incredible, thank you so much!
This is amazing Alex!! What a great resource!! Thanks so much!!
Wow, this is really helpful! Many thanks!
Glad to hear. Thanks
You're simply the best at recreating vintage ambiences in the box. Hi :)
Brilliant guide, very insightful!
First rate stuff, Alex. I'm showing this to my students. Thank you so much.
Thanks, I'm glad it's useful. What are you teaching your students? Production, composition?
Yup. Both of those. Arrangement too. This tutorial will help a lot. I like your observation that some sections of the orchestra will be more difficult to hear as the brass gets louder. This is what happens because of a little thing called "physics", yet modern technology allows us to hear everything in full detail - a sort of HDR for audio. I'm a fan of the realistic approach so it's nice to demonstrate to my students that what they are hearing as a "bug" in the mix is actually a "feature" of real life!
Yes, that's exactly it. The sound waves all blend and interact in the room but samples are unnaturally isolated. So it's a case of trying to reintroduce that in the mix.
This is a must watch for music creators that want to get into sampling more. Great stuff, Alex!
Brilliant stuff. Many thanks.
A-MAZING! Thanks a lot!
You're welcome.
bloody marvellous
Amazing ! I wanted this for a long time !
Great guide - thank you so much!
Realy usefull video, Alex.
(Yes, I dig in your channel...)
For those who don't have orchestral "toolkits", like the Spitfire Bernard Herrmann Toolkit, I have a quick tip: You can prepare in advance some of the usual intruments combinations in your DAW and save them as user patches, like "trumpet+xylo", "bass trombone+trombones+trumpets", "harp+celeste", "col legno violins +stracat. flutes", etc...
I mainly use BBC SO which is strictly an orchestra and doesn't have these premades stacks thus it saves me a lot of time when I compose and gives me some ideas from time to time.
Regarding the contrabass I also tend to use some mid-side EQ. They're often, and classicaly, located on the right and some bits of mid-side EQ help me ro recenter quite a bit their low frequencies.
It's maybe less realistic, "not like the real one", but the final mix feel "easier".
Thanks. Yes, I'm tempted by the Bernard Hermann Toolkit sounds great.
Thanks for the tips with patches and I agree the left / right treble to bass thing is always a bit of a challenge in a recording environment when you want bass in the middle. I know some people use a sine wave sub oscillator doubling the bass and sat dead centre for that job. You feel it without hearing it if you see what I mean.
@@AlexBallMusic I've never used the centered sub sine trick in my orchestral works, I'll give it a try.
And on my side I've heard in some orchestral recordings for movie soundtracks the double bass were physicaly relocated in the center of the orchestra.
(But for certain moments in a piece it can be a problem as the attacks (with high harmonics) of the bass on the right have to answer/counterpoint/balance the attacks of the "high strings section" on the the left.)
thank you so much!!!! Great Video!
Your channel is amazing! Thank you 🙏
Brilliant work Alex
So useful, really good video that helped me a lot. Thank you 👍
I'm back here. I've completed one of my sound design project with only partly satisfying results, but I'm glad I've completed it. I've started a new one which is faring much better than the first one: with my learnings of the previous project I'm building much better patches, I have a much better project workflow to control the sounds, and I'm staying on top of my gain staging. I'm hoping to get much better results.
After these 2 projects I thought maybe I'd get myself real orchestral libraries to have a go at the real thing, but man... the Spitfire ones are 600 euros a piece ! Every complementary library is like 300 bucks, if I want to have a full orchestra, I'll need to sink in 2000 bucks at least, and that's kind of steep.
Wow I’m going to have to watch this 3 or 4 times what a wealth of knowledge thanks so much