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Topic: Tutorials online?

  1. #1

    Tutorials online?

    Hi all, I was wondering if there\'s some websites out there with tutorials and/or articles about how to make midis sound more like real orchestra.

  2. #2

    Re: Tutorials online?


    Computer Music - Making it Real:

    Sequencing Tips:

    Also, don\'t forget this book:
    The Guide to Midi Orchestration by Paul Gilreath (it is currently out of print but about to be updated). It is a good intro to sequencing orchestral music.

  3. #3

    Re: Tutorials online?

    In my opinion you don\'t need such \"tutorials\". The best tutorial out there is free and it\'s called \"listening to a lot of orchestral music and trying to copy it.\"

    Seriously. It\'s THE best way. Learn what an orchestra is supposed to sound like, and you\'ll know what to do in order to obtain that sound with samples. But most importantly, use your ear!

    Last but not least, know as much as possible about orchestration. If I were you I\'d rather buy a few orchestration books than the \"guide to midi orchestration\" stuff (which by all means could be a great book, I have no idea as I\'ve never read it). Pick up an orchestration book, I know you\'ll benefit from it in the long run. Sometimes conventional rules of orchestration do not apply when you\'re doing midi mockups, but at least you\'ll have a good set of ground rules to work from.

    Anyway, the source to realism is right in front of you, and it\'s free.


  4. #4

    Re: Tutorials online?

    Kari - Thanks.

    Thomas_J - The thing is that I know how to score for real orchestra but I don\'t know much about how to translate that knowledge to midi. However, I feel that I\'m closer now than few months ago.
    Btw. I own a bunch of books about orchestration. [img]images/icons/grin.gif[/img]

    Maybe I\'m expecting too much from myself? I know the real orchestra, and maybe I\'ll just never be completely satisfied with midi?

    Anyway, I think it\'s also question about getting more midi programming know-how. So I\'ll looking into this book, which Kari mentioned.

  5. #5

    Re: Tutorials online?

    Good luck, whatever you do! [img]images/icons/smile.gif[/img]


  6. #6

    Re: Tutorials online?


    You\'re probably right about never being satisfied. Certainly not the pickiest of us, anyway.

    For most, the experience of creating a cohesive orchestral sound is not an \'out of the box\' experience. The guys who have gotten the best results in the past have been the ones who have bent instrument patches to their will by editing both the patches and the midi performance data in a tedious and time consuming series of operations.

    Much of this effort has been focused on things like realistic dynamics and articulation.

    I will never forget the project I did a long time ago where the composer had hired a Kurzweil 250 (yes 250) and was using me to do the midi programming. I thought the piece was written quite well, but that the K250\'s sounds were really letting it down. When I talked to him about it he was really relieved. He thought that the piece sounded crappy because what he\'d written simply wasn\'t working - but he couldn\'t figure out why. When I explained to him that just because a patch was labelled \'oboe\', it didn\'t mean that he was going to hear anything remotely like a real oboe player performing his part, I could see a light go on in his head, he brightened up and we moved on, trying to ignore the sampler\'s shortcomings.

    On the other hand, since those dark old days, a lot has improved - largely due to Nemesys bringing disk streaming tecdhnology to samplers.

    With virtually no limitation on the length or number of sounds you can use, we are getting closer and closer to an \'out of the box\' experience which helps you be creative rather than forces you into the role of sound mechanic.

    We are also seeing libraries which are able to embrace the \'next step\' beyond simply getting the sound right - the performance interface.

    Newer libraries like GOS and VSL are utilising extra software which helps you achieve realistic articuation and dynamics without having to do much, if any, editing.

    I think the combination of new libraries which are created without the old sampler constraints, with new ways of \'playing\' those libraries so that we hear performances which sound \'alive\', will lead to more and more midi composers out there finding that their job has changed from one of compromise to one of fulfilment.

  7. #7

    Re: Tutorials online?

    Regardless of the patch you\'re using, whether it\'s VSL or a JV 1010 patch, if you learn to think like \"how the person playing the instrument\" would play them you will end up with better results as well. Realism is much more than just a good sample.

  8. #8

    Re: Tutorials online?

    Can anybody give examples of some good orchestration books. I\'ve got a background in Rock and Jazz, but I\'m just getting into writing for an orchestra. I\'ve done big band charts so I am somewhat familiar with brass and woodwinds. I\'m interested in a book that has the ranges and transpositions of instruments, as well as the \"do\'s and do nots\" for eash instrument. I would especially be interested in the limitations, problems, etc. of using a bow on string instruments. I play guitar so I always laugh if somebody writes a guitar part with extended chords with closed voicings built on thirds and seconds. This is impossible to play. Knowing stuff like that I think would be very helpful.

  9. #9

    Re: Tutorials online?

    Originally posted by Kevin Slack:
    Can anybody give examples of some good orchestration books.
    <font size=\"2\" face=\"Verdana, Arial\">If you have lots of cash, get Samuel Adler\'s \"The Study of Orchestration\" 3rd edition and the associated CD-ROMS. I think this is an excellent reference book and the CD includes very well played excerpts that go into good detail. For example, the part about writing for woodwind shows why Schubert\'s unfinished symphony works so well with its unusual pairing of flute and oboe in unison and why other combinations don\'t quite capture the mystery the composer wanted. Other combinations are played on the CD so you can see the subtle yet effective differences in the same passage played on flute+clarinet or oboe+clarinet or flute+bassoon, etc.

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