Hello everyone, I'm trying to create some orchestral stuff but I have near to zero knowledge of it. I used to listen to many orchestral tracks in movies,etc which caught my attention to this.
I just wanted to know if anyone could tell me some good libraries(I have nothing except edirol) and also redirect me to some good tutorials on this genre.
btw, I use Fl studio.
Thanks.
Depending on budget this blog splits it up according to price. Hope this helps :)
http://thinkspaceeducation.com/building-your-sample-library/
At 4/14/16 05:51 AM, Demonic-Overmind wrote: Hello everyone, I'm trying to create some orchestral stuff but I have near to zero knowledge of it. I used to listen to many orchestral tracks in movies,etc which caught my attention to this.
I just wanted to know if anyone could tell me some good libraries(I have nothing except edirol) and also redirect me to some good tutorials on this genre.
btw, I use Fl studio.
Thanks.
I find this 20 dollar course to be rather beginner friendly:
https://www.macprovideo.com/tutorial/music-scoring-101-creating-moods-and-styles
There are also other well structured and nicely presented MIDI orchestration courses in Macprovideo and Groove3.
Of course there are free youtube video courses, but I cannot pick out any particular one that stands out.
As for music libraries, I think Garritan gives the best bang for the buck. The CE version of Miroslav or the previous Miroslav are also worth considering:
http://www.garritan.com/products/personal-orchestra-5/
http://www.ikmultimedia.com/products/philharmonik2ce/
But before spending money, I recommend checking out free libraries, and find out for yourself whether they are lacking or good enough for you.
Sonatina Symphonic Orchestra
http://sso.mattiaswestlund.net/
Bandshed No Budget Orchestra
http://www.bandshed.net/sounds/sfz/
Signal Experiments (so far just strings and brass by yours truly :-) )
https://sig-ex.com/free/
In terms of libraries, the age-old starting point is EWQL SO (frequently on sale!). Everything beneath that in price (Garritan, Edirol, Sonatina) is too poor quality for professional work, and even SO's quite aged and over-used (being over a decade old). However, if you just want to start off as a hobbyist or doing student projects or intend to only use your libraries to mock up works that will be performed live later on, then Edirol or Sonatina should be more than fine for your uses. Libraries have become better and better, but the free/low-cost end of the market mostly consists of hacked-together freeware collections and decade-plus old samplings with an air-freshener tied around the mirror (there are some obvious exceptions here and there). However, it will do a decent enough job while learning. :)
So... learning orchestral music is a pretty tricky thing. You can take the cheap way and decide to be ignorant to history, instrumentation, phrasing, etc. and just use it like a bunch of pads to bang on, or you can really invest yourself- read an orchestration manual (http://web.archive.org/web/20070806024828/http://www.northernsounds.com/forum/forumdisplay.php?f=77), study (or at least listen to) great compositions (Beethoven, Mahler, Mozart, Wagner, Bruckner, Tchaikovsky, Mussorgsky, and film composers such as Herrmann, Jarre, Goldsmith, etc.), enroll in a music theory course or two if available at your school or institution, learn to play piano (even just the basics will suffice), meet with real musicians to learn how their instruments work and sound, and so on. I've been doing this six years including music school and I've hardly scratched the surface!
Write, write, write. Don't worry as much about other people's tricks and techniques or online tutorials, because everyone has their own way of understanding music, just write what comes to you. The only true way to build a muscle is to exercise it. I started out with nothing, not a drop of experience aside from being able to read music, but I had been listening to classical music and such for all my life, so I had a decent ear for how music should sound to me, but I wrote a piece or two every week for about three years, so I built up my knowledge. Don't be afraid to experiment or adapt things you hear directly.
A good idea is to collaborate with other composers and to participate in contests (such as the various contests regularly held here on newgrounds). Accept all critique, no matter how much you disagree, and come back to it later on- you may very likely find something useful! Mostly, doing stuff rather than just reading stuff is how you will improve. :)
The guys above have done the leg work, however don't knock edirol. With the patience and precision it can create some great work. ;)
I almost think we should have a contest for fun using it. :P
At 4/14/16 07:59 PM, PeterSatera wrote: The guys above have done the leg work, however don't knock edirol. With the patience and precision it can create some great work. ;)
I almost think we should have a contest for fun using it. :P
Yes, if you reeeeaaally know what you are doing and spend a lot of time, you can make even Garritan, Edirol, and even free soundfonts sound half-respectable (and I have done so with great effort in the past). Mattias Westlund, developer of Sonatina, has some excellent articles on how to achieve such results. However, for the scope of a relative beginner with neither formal music training nor formal ear training, many of the techniques and adjustments required to create such a sound are arguably beyond the current range, and it would be far more fruitful to aim towards a "ready to go out of the box" solution, with uniform and reliable instruments, a decent degree of velocity layers, and most importantly, particularly for aspiring cinematic composers who are of the modern hollywood school, lots of round-robin.
At 4/14/16 09:33 PM, samulis wrote:At 4/14/16 07:59 PM, PeterSatera wrote: The guys above have done the leg work, however don't knock edirol. With the patience and precision it can create some great work. ;)Yes, if you reeeeaaally know what you are doing and spend a lot of time, you can make even Garritan, Edirol, and even free soundfonts sound half-respectable (and I have done so with great effort in the past). Mattias Westlund, developer of Sonatina, has some excellent articles on how to achieve such results. However, for the scope of a relative beginner with neither formal music training nor formal ear training, many of the techniques and adjustments required to create such a sound are arguably beyond the current range, and it would be far more fruitful to aim towards a "ready to go out of the box" solution, with uniform and reliable instruments, a decent degree of velocity layers, and most importantly, particularly for aspiring cinematic composers who are of the modern hollywood school, lots of round-robin.
I almost think we should have a contest for fun using it. :P
I get where you're coming from. But it's an expensive decision, I don't know about you but I tend upgrade due to needs over wants. when you realise that you've got the best out of a sample set and use your funds to expand. So learning edirols ability before moving on to eastwest, then eastwest to seperate libs. You're not talking a small hundred here for edirol. It's thousands In some cases. Having something like lass for instance would throw a user if they have zero understanding of cc functionality and chair setup. Basically learning to walk in one pair of shoes, rather than buying hundreds of dedicated running shoes before knowing if running is for you.
At 4/14/16 12:33 PM, sig-ex wrote: Of course there are free youtube video courses, but I cannot pick out any particular one that stands out.
yup, I tried looking for some tutorials on youtube before creating this topic but didn't had any luck. There are tons of tutorials for EDM but barely any for orchestral stuff. Thanks for the suggestions, as for now I won't prefer paid tutorials and costly libraries as I myself don't know what I'm doing :p I just want to try producing a good quality orchestral music, if I loved doing it, I'll buy those libraries and continue making it.
At 4/14/16 02:33 PM, samulis wrote: In terms of libraries, the age-old starting point is EWQL SO (frequently on sale!). Everything beneath that in price (Garritan, Edirol, Sonatina) is too poor quality for professional work, and even SO's quite aged and over-used (being over a decade old). However, if you just want to start off as a hobbyist or doing student projects or intend to only use your libraries to mock up works that will be performed live later on, then Edirol or Sonatina should be more than fine for your uses. Libraries have become better and better, but the free/low-cost end of the market mostly consists of hacked-together freeware collections and decade-plus old samplings with an air-freshener tied around the mirror (there are some obvious exceptions here and there). However, it will do a decent enough job while learning. :)
So... learning orchestral music is a pretty tricky thing. You can take the cheap way and decide to be ignorant to history, instrumentation, phrasing, etc. and just use it like a bunch of pads to bang on, or you can really invest yourself- read an orchestration manual (http://web.archive.org/web/20070806024828/http://www.northernsounds.com/forum/forumdisplay.php?f=77), study (or at least listen to) great compositions (Beethoven, Mahler, Mozart, Wagner, Bruckner, Tchaikovsky, Mussorgsky, and film composers such as Herrmann, Jarre, Goldsmith, etc.), enroll in a music theory course or two if available at your school or institution, learn to play piano (even just the basics will suffice), meet with real musicians to learn how their instruments work and sound, and so on. I've been doing this six years including music school and I've hardly scratched the surface!
Write, write, write. Don't worry as much about other people's tricks and techniques or online tutorials, because everyone has their own way of understanding music, just write what comes to you. The only true way to build a muscle is to exercise it. I started out with nothing, not a drop of experience aside from being able to read music, but I had been listening to classical music and such for all my life, so I had a decent ear for how music should sound to me, but I wrote a piece or two every week for about three years, so I built up my knowledge. Don't be afraid to experiment or adapt things you hear directly.
A good idea is to collaborate with other composers and to participate in contests (such as the various contests regularly held here on newgrounds). Accept all critique, no matter how much you disagree, and come back to it later on- you may very likely find something useful! Mostly, doing stuff rather than just reading stuff is how you will improve. :)
Yes, I already have some basic knowledge of music theory. I'm just starting out with it so I would probably use edirol, sonatina and some other low priced ones. Thanks for the motivation, as I'm totally self-taught from youtube videos and a music theory book, it takes me a lot of time to get my hands on a track. I'm trying to experiment with genres to check what suits me.
At 4/14/16 05:21 PM, Anarkat wrote: As for you @OP. Check out @Samulis' suggestion on EWQL Symphonic Orchestra, and @Soundchris on other specific orchestra libraries. What are your choices on orchestra library? Would you prefer the separate instruments, which Symphonic Orchestra, and Projectsam Symphobia (1st one) have? Or out-of-the-box sections, that Spitfire Albion and CineSamples CineOrch have? Look through the options that Soundchris listed. Don't rush and don't afraid to ask question.
Thanks, I didn't get you, I personally prefer all-in-one libraries like edirol has.
At 4/14/16 09:33 PM, samulis wrote: Yes, if you reeeeaaally know what you are doing and spend a lot of time, you can make even Garritan, Edirol, and even free soundfonts sound half-respectable (and I have done so with great effort in the past). Mattias Westlund, developer of Sonatina, has some excellent articles on how to achieve such results. However, for the scope of a relative beginner with neither formal music training nor formal ear training, many of the techniques and adjustments required to create such a sound are arguably beyond the current range, and it would be far more fruitful to aim towards a "ready to go out of the box" solution, with uniform and reliable instruments, a decent degree of velocity layers, and most importantly, particularly for aspiring cinematic composers who are of the modern hollywood school, lots of round-robin.
I didn't really had any formal ear-training and neither music training, I just started out 6-7 months ago... Those articles look promising, thanks, I'll read them soon.
At 4/14/16 05:21 PM, Anarkat wrote: @sig-ex
Don't get Miroslav Philharmonik. This was a good library 5-7 years ago, however nowadays MP is very poor in quality.
As for you @OP. Check out @Samulis' suggestion on EWQL Symphonic Orchestra, and @Soundchris on other specific orchestra libraries. What are your choices on orchestra library? Would you prefer the separate instruments, which Symphonic Orchestra, and Projectsam Symphobia (1st one) have? Or out-of-the-box sections, that Spitfire Albion and CineSamples CineOrch have? Look through the options that Soundchris listed. Don't rush and don't afraid to ask question.
@Anarkat
Thanks for the warning! I haven't personally tried the recent Mirolsav 2 yet though.
I just don't like the possible misconception that a newbie should start by spending several hundreds/thousands of dollars to make good sounding music. These "great sounding" libraries are demoed with good/great arrangements. It can get disappointing to make an expensive library sound bad with bad arrangements.
On the other hand, it is also true that poor samples will also affect your music. For a beginner, it would be nice to get decent sounds for the least amount of money. Hence I try to suggest the more affordable but still professionally made libraries (complete orchestras for < 200 USD).
So is it Garriant then?
Also anyone has thoughts on UVI orchestral suite?
Don't put any Room Reverb on your instrumentation until you've completely composed the track first. Makes life much easier.
Commander Terrorsekt - An Online based Band consisting of the following members:
I've found this site to be immensely helpful for learning orchestration. I would also strongly recommend listening to a wide variety of music from different time periods. You should also try to learn the basics of counterpoint, part-writing, form, etc.
At 4/18/16 09:33 AM, Demonic-Overmind wrote: how's this?
http://www.newgrounds.com/audio/listen/680493
@sig-ex @samulis @Anarkat @soundchris any suggestions? what more should I add?
1.) Well - first it is important to develope a musical idea. I personaly recommend to sit down at the piano and playing chord progressions to get an idea what kind of message you want to give your audience. Take your time here - its worth it. Also you should try to follow a structure - especially if you are at the beginning of your orchestral journey. For the beginning start with an A - B - A structure. Later you can go crazy and write in whatever structure you would like to. But this approach helps you to keep everything in order.
2.) Use the midi cc commands to bring in some realism to your mockup. Dont use the strings just like pads. If you are listening to a real orchestral recording you will hear that there is so much movement, so much life in it. Try to immitate that by editing your midi cc data. Also DONT QUANZIZE if you want a realistic orchestral sound. If you are heading for a more modern cinematic hans zimmer sound you may quantize, but dont overdo it. Try to learn how the instruments are balanced. This is something that can take quite a long time.
3.) You should pan your orchestra following the american seating position if you want the standard orchestral sound you would hear in a concert hall. If you want a more cinematic / soundtrack-kind of listening-experience take the european seating position for a more balanced sound. Pan (placing the instruments in the "stereo-field") from left to right from -60/-50 to + 50/+60 to get a wider sound and also to give the instruments room within the frequency range.
4.) Learn about using reverb. THis is tricky in orchestral music. You will need several instances of reverb effects. I would at least take one for the instruments sitting in front, another instance for the instruments sitting in the middle and one third for those siting in the back of the room (Perc, French Horns, etc. - well: I take far more instances. E.g. i take one aux reverb chan for my violins 1 & 2 and violas, another one for the celli and basses, one for the woodwinds, one for french horns, trombones and cimbasso and another one for the trumpets, one for the percussion, one extra for the piano and harp / solo instruments. I have 2 different reverbs in each aux chan to make the sound more realistic (one with a tail of 3.x and another one with 4.x). If you just take one it might sound too perfect to be a realistic room. In the end i send everything into a master reverb with very litle send - just to glue everything together.
5.) EQ is important. Otherwise the mix will become muddy. THe further the instruments are placed away from mic the more the frequencies loose power. Keep that in mind.
6.) Learn about ochestration. There are rules how instruments work well together (or not).
7.) Classical music has got a HUGE dynamic range. Be careful with compressors! Maybe its better to go for a plugin like the sonnox inflator to get more loudness without destroying your audio quality.
Those are my tips. I am not a master myself. But i try to improve. If you do what i have written you should be able to get a sound like this:
Unpublished Submission
So - the key is: Structure (well, my piece up there is a bad example because it doesnt have a clear structure because it was meant to be a demo for the choir i used here and i wanted to show that choir in different situations. So dont take this as an example for a good structire lol), orchestration skills, knowledge about production (EQ, Pan, Reverb, Mastering) and a lot of listening experience.
If you are looking for orchestration books which are usable: Alexander Publishing - Professional Orchestration Vol.1-2b. If you want to understand more about structure and orchestration go to IMSLP, listen to a music track and look at the score sheet. Its not really important to be able to read it. But you will understand what happens. WHich instruments are playing at the same time, where is the lead melody, what stuff can be doubled, in which ranges are the instruments playing, what makes the texture? You will find out that a effective orchestration often has a great sound while there isnt really that much going on. "Less" can often be "more". If you stil have got any questions feel free to ask me.
Loads of great advice here -- I've skimmed through it all and echo what's already been said. I think EWQLSO is your best bet for bringing up your quality without breaking the bank; just wait for one of the 50% off sales and grab EWQLSO Gold. It's a library used in many, many, MANY big scores and is still used today.
One thing I would try that I didn't see mentioned: recreate one of your favorite orchestral pieces. Find a composer you love, pick one of your favorite pieces they've done, and try to remake it note-for-note. It'll force you to learn your libraries, as well as train your ears to listen for things you might otherwise gloss over. It's an exercise I don't see suggested often, but is really beneficial to all aspects of writing.
I dont have a lot of time to read through the this whole thread right now but if anyone hasnt mentioned it already EWQL stuff is available via subscription
The worth of a man can be measured by the length of his reverb, and the girth of his waveform
Thees waveforme iz veri dangerous. Ve must deal vit it. squash
At 4/18/16 10:04 AM, SoundChris wrote: 1.) Well - first it is important to develope a musical idea. I personaly recommend to sit down at the piano and playing chord progressions to get an idea what kind of message you want to give your audience. Take your time here - its worth it. Also you should try to follow a structure - especially if you are at the beginning of your orchestral journey. For the beginning start with an A - B - A structure. Later you can go crazy and write in whatever structure you would like to. But this approach helps you to keep everything in order.
2.) Use the midi cc commands to bring in some realism to your mockup. Dont use the strings just like pads. If you are listening to a real orchestral recording you will hear that there is so much movement, so much life in it. Try to immitate that by editing your midi cc data. Also DONT QUANZIZE if you want a realistic orchestral sound. If you are heading for a more modern cinematic hans zimmer sound you may quantize, but dont overdo it. Try to learn how the instruments are balanced. This is something that can take quite a long time.
3.) You should pan your orchestra following the american seating position if you want the standard orchestral sound you would hear in a concert hall. If you want a more cinematic / soundtrack-kind of listening-experience take the european seating position for a more balanced sound. Pan (placing the instruments in the "stereo-field") from left to right from -60/-50 to + 50/+60 to get a wider sound and also to give the instruments room within the frequency range.
4.) Learn about using reverb. THis is tricky in orchestral music. You will need several instances of reverb effects. I would at least take one for the instruments sitting in front, another instance for the instruments sitting in the middle and one third for those siting in the back of the room (Perc, French Horns, etc. - well: I take far more instances. E.g. i take one aux reverb chan for my violins 1 & 2 and violas, another one for the celli and basses, one for the woodwinds, one for french horns, trombones and cimbasso and another one for the trumpets, one for the percussion, one extra for the piano and harp / solo instruments. I have 2 different reverbs in each aux chan to make the sound more realistic (one with a tail of 3.x and another one with 4.x). If you just take one it might sound too perfect to be a realistic room. In the end i send everything into a master reverb with very litle send - just to glue everything together.
5.) EQ is important. Otherwise the mix will become muddy. THe further the instruments are placed away from mic the more the frequencies loose power. Keep that in mind.
6.) Learn about ochestration. There are rules how instruments work well together (or not).
7.) Classical music has got a HUGE dynamic range. Be careful with compressors! Maybe its better to go for a plugin like the sonnox inflator to get more loudness without destroying your audio quality.
Those are my tips. I am not a master myself. But i try to improve. If you do what i have written you should be able to get a sound like this:
http://www.newgrounds.com/audio/listen/674873
So - the key is: Structure (well, my piece up there is a bad example because it doesnt have a clear structure because it was meant to be a demo for the choir i used here and i wanted to show that choir in different situations. So dont take this as an example for a good structire lol), orchestration skills, knowledge about production (EQ, Pan, Reverb, Mastering) and a lot of listening experience.
If you are looking for orchestration books which are usable: Alexander Publishing - Professional Orchestration Vol.1-2b. If you want to understand more about structure and orchestration go to IMSLP, listen to a music track and look at the score sheet. Its not really important to be able to read it. But you will understand what happens. WHich instruments are playing at the same time, where is the lead melody, what stuff can be doubled, in which ranges are the instruments playing, what makes the texture? You will find out that a effective orchestration often has a great sound while there isnt really that much going on. "Less" can often be "more". If you stil have got any questions feel free to ask me.
Thanks a lot for this descriptive feedback,
1) I really suck at this, I couldn't ever add a particular feel to a song.
I'll try starting with A-B-A structure again and check what I'll get.
2) hehe, I really thought those celli as pads and tried to create a chord progression xP
3) yup, I tried slight panning, around 30% wide, I read the manual by the developer of sonatica and tried slight panning (I wasn't sure about what I was doing).
4) I didn't read anything about reverb yet, I was just trying to get some instruments into picture first.
5) I can say this is the only thing I am slightly good at :P, I tried EQing those instruments and boosted their natural frequencies by 2-2.5dB.
6) I'll look into it, I need to learn about which instruments go together well. I'm often confused on what instruments to add and what not.
7) I'll also get to the mastering part later, thanks for the compression tip btw.
I'll look into the books you mentioned.
At 4/19/16 05:03 AM, DavidOrr wrote: Loads of great advice here -- I've skimmed through it all and echo what's already been said. I think EWQLSO is your best bet for bringing up your quality without breaking the bank; just wait for one of the 50% off sales and grab EWQLSO Gold. It's a library used in many, many, MANY big scores and is still used today.
Thanks, I'm looking forward to get EWQL gold soon
At 4/19/16 12:44 PM, Demonic-Overmind wrote: Thanks, I'm looking forward to get EWQL gold soon
STOP! Before you take Symphonic Orchestra - lets talk about a few things first:
1.) NEVER purchase a EWQL product for the list price. They have got 50% offers almost all the time. Dont burn your money bro!
2.) How strong is your system - and what do you use? (win / mac)? If you have got a stronger system and a lot of ram you could think of buying Hollywood Orchestra Gold (also by EWQL - its the successor of the Symphonic Orchestra). its about 150 bucks more expensive but if you purchase it when its on promo (again - you should not have to wait a long time. They ALWAYS have got a huge summer sale, christmas sale, ney years eve sale, Labour Day Sale, Black Friday, Spring Sale, Easter Sale and so on. Ant like i said: In most cases its 50% !!! off on everything.)
While Symphonic Orchestra has a good sound in general it is very wet. You have got a lot of reverb already within the samples - which can be a problem in orchestral mixing. Also you dont have legato in it. Therefore the ram footprint is quite good and it doesnt need that much resources. Hollywood Orchestra stil has got the best strings availiable on the market (YES - i even rate them OVER Berlin Strings, even they are comparable). Check out these demos here:
Hollywood Strings - Allegro Agitato
Hollywood Strings - Love Suspended
Hollywood Strings - Threnody(Divisi Strings)
Hollywood Brass also is a monster library. Next to Cinesamples - Cinebrass (and the upcoming Berlin Brass) its one of the best Brass libraries out there (If you want to upgrade with even more realism you can layer it with Samplemodeling - Brass. This Star Warsrescore has been done by combining Samplemodeling Brass with CineBrass (which is very similar to Hollywood Brass). Everything you are hearing here is made with virtual instruments.
Hollywood Brass - Storming The Gates
Hollywood Woodwinds has got a nice ensemble sound. The solists are not perfect. Once you reach a higher level you can layer it with 8dio - Claire or you fo for Berlin Woodwinds, which is THE very best woodwind orchestral library these days ... but also very expensive :/ (got it on my wishlist).
Hollywood Orchestral Woodwinds - Demos
Comparison video - Symphonic Orchestra vs. Hollywood Orchestra
Hollywood Orchestra needs a lot of resources. Play works well these days - if you run it on a win machine it works seamless. But play sometimes can have problems with mac osx.
Hope that helped.
There are a few other "Full Orchestra" Libraries out there you also could check out:
Spitfire Audio - Albion One
Cinesamples - CineOrchestra lite
Orchestral Tools - Metropolis ARK (if you want epic and loud material
Yes Symphonic Orchestra is unquestionably the best bang for your buck to get started on hi-quality orchestral mockups. The sound and programming quality is right in the middle between sondfonts and pro-level libraries; think of it as training weights for your composition and production skills, so that when you get the bigger & better stuff, you'll be able to achieve good results with ease.
Also, when you start expanding your collection, I'd suggest going for all Kontakt and/or VSL, and moving away from the EW PLAY format altogether, until you get a computer(s) with at least 32GB RAM at MINIMUM. The problem with PLAY is that it doesn't even try to be economical with RAM usage that it's ridiculous.
At 4/19/16 01:47 PM, SoundChris wrote: STOP! Before you take Symphonic Orchestra - lets talk about a few things first:
1.) NEVER purchase a EWQL product for the list price. They have got 50% offers almost all the time. Dont burn your money bro!
2.) How strong is your system - and what do you use? (win / mac)? If you have got a stronger system and a lot of ram you could think of buying Hollywood Orchestra Gold
While Symphonic Orchestra has a good sound in general it is very wet. You have got a lot of reverb already within the samples - which can be a problem in orchestral mixing. Also you dont have legato in it. Therefore the ram footprint is quite good and it doesnt need that much resources. Hollywood Orchestra stil has got the best strings availiable on the market (YES - i even rate them OVER Berlin Strings, even they are comparable).
Hollywood Woodwinds has got a nice ensemble sound. The solists are not perfect. Once you reach a higher level you can layer it with 8dio - Claire or you fo for Berlin Woodwinds, which is THE very best woodwind orchestral library these days ... but also very expensive :/ (got it on my wishlist).
Hollywood Orchestra needs a lot of resources. Play works well these days - if you run it on a win machine it works seamless. But play sometimes can have problems with mac osx.
I just have an average rig, i3 4th gen, 4GB(actually 8GB in next month) ram and 1gb amd gpu and running on win 10..
I still don't think of getting hollywood strings though.. As It'll be too much for both, me and my pc, I'm thinking to practice with symphonic orchestra for a year or more so that I can get the picture of everything. Once I'm used to the instruments and stuff, I'll think of getting better library.
As you said, I'll wait for an offer to come up and get SO then, thanks.
I checked out CineSymphony LITE too, is it good?
At 4/20/16 02:27 PM, TheDukeofJuke wrote: One of the most important elements of making cinematic orchestra is conveying the emotion of whatever is going on in the story at the moment. I can't give you any advice on music theory since I play by ear, but there are a whole lot of other people on here who could help with that.
Oh, even if I have an emotion and feeling in mind, I still can't put it into my song X(, maybe because of no ear/theory training.
The song I composed earlier, I was trying to give a war feel to it but it strayed a lot.Probably, I should give a lot of time to each note I play.
Playing by ear is great, I'll try to fuck the music theory and play by ear next time.
and also, what instruments did you use in wisdom of the white?
P.S. vst's to be precise :p
At 4/21/16 12:09 PM, Demonic-Overmind wrote:
Oh, even if I have an emotion and feeling in mind, I still can't put it into my song X(, maybe because of no ear/theory training.
This is where knowing your scales comes into play. Major scales tend to be lighter and happier. Minor scales tend to lend quite the opposite. Learn how to form your chords. A major chord will typically be happy. A minor chord will typically be sad. A diminished chord will be tense, or "stressful" emotionally. etc...
.
At 4/21/16 12:09 PM, Demonic-Overmind wrote: I just have an average rig, i3 4th gen, 4GB(actually 8GB in next month) ram and 1gb amd gpu and running on win 10..
I still don't think of getting hollywood strings though..
Yeah with these specs you would not have a great time with the hollywood collection. But what came into my mind is: If you work with symphonic orchestra as your main library and just add hollywood strings silver / brass silver later you would have a strong full orchestra section and also the legato instruments in addition. That combination could work well on your system and would stil be affordable.
As you said, I'll wait for an offer to come up and get SO then, thanks.
No problem :)
I checked out CineSymphony LITE too, is it good?
No i didnt. Usually CineSamples also is a good developer, and their main products (CineStrings, CineBrass, CinePerc and CineWinds are also said to be very good - they build the CineSymphony Full version. I guess the lite version is just basic content from these products combined in a bundle, but i am also not too sure. The advantage of cinesymphony would be that it is a kontakt instrument, not PLAY like the EWQL one. But i dont think that Symphonic orchestra would be a heavy task for your machine. The good thing about the cinesamples stuff is that it sounds very "classic hollywoodÃsh" because they recorded in the sony scoring stage in hollywood if i remember correctly (while the hollywood orchestra is recorded in the sinatra hall / EW Studios and edited by shawn murphy - means: The scoring stage where almost all the big blockbusters have been recorded from star wars over jurassic park, all kinds of john williams and elfman stuff etc. And Shawn Murphy was the sound engi who worked mainly for george lucas and spielberg as far as i know).
A good point for Symphonic Orchestra is that this library is very old and also well-tried. Have fun making your decision!
Get used to the studio before you make anything.
Make tests and practice stuff before uploading any.
Very Helpful Forum... Thanks to the Mods Who helped out here!
YOLO WORLD!!!
