Originally Posted by
ejr
Two ideas -- they're not new, but I don't see them implimented enough.
(1) Modular releases. That idea is good: buy just what you need and save money. But too few developers are doing it. And, with some of them, if you end up buying a whole woodwind or strings section with the various modules, it ends up costing more than a complete collection. You might do better with GPO and JABB. So, I' guess what I'm saying is I'd like to see some of the less expensive libaries offer their insturuments ala carte.
(2) Broadway pit orchestra. There's only one release that seems to target Broadway. It's expensive and it only has the most basic instruments that you'd expect to find in a Broadway pit these days.
With the musician's union minimum for the largest Broadway theater down to 18 players (19 if the conductor plays one or more instruments) it's become more of a challenge than ever to orchestrate a score and make it sound full.
What do Broadway theater composers and orchestrators need today?
Solo strings only, from which a small section can be built (because there is never enough money for a full string section) a la GPO, DD Solo strings, etc. And keyboard patches that can serve as a substitute for a strings section (blending seamlessly as you go down the keyboard, so that every instrument groups is playing in its best range). There is some of this now, but it could be so much better. For example, if I play a 3 note chord on the treble staff, it should play the upper two voices on the violins and the third voice on the violas, etc. All right, I want the impossible. I want the audience to think it's a real string section -- but anything that gets me closer to that is a good thing. Also a good harp patch or two. I know this seems like a luxury for such a small orchestra, but they use them on Broadway a LOT. It's part of the sound today.
Woodwinds, woodwinds, woodwinds. They're the most important section these days. WW players typically play 3, 4 or 5 instruments, so the orchestra can have lots of color and variety without being huge. Again, just solo instruments. There won't be many occassions when I'll want several of the same instrument playing in unison. But, like the strings, I'd want several variations of each, so that I have some choice and can put together a section on my own if need be. Ditto for the keyboard idea: a single patch that starts with an Eb clarinet on the high end of the keyboard, going through the Bb clarinet, down to the contrabass. Another for all the flutes. Another for the double reeds. You get the idea.
Saxes, saxes, saxes. Not for every score, but they're used more than you'd think because they make a small orchestra sound big. Most existing sax libraries leave much to be desired. Some sound like kazoos. Others sound like an organ or FM synth when played together. Especially missing is a convincing subtone sound. (I'd never substitute a keyboard for the saxes though, so don't spend your time on that.)
Brass: Trumpets and trombones are of primary importance -- with lots of varieties of mutes. Like in JABB, but more. How about harmons with the stems out? Felt hats? They use this stuff all the time in the pits. A Euphonium or baritone horn is also used a lot. Sometimes a tuba. And French Horns -- for the same reasons as the saxes -- they help make a small combo sound large. Again, just solo instruments, in several variations, so that ad hoc sections can be put together. (No need for brass sections or a keyboard substitute here, either.)
Rhthym section. Acoustic and Electric bass, a must. Acoustic and electric guitars. The banjo and mandolin, and sometimes the uke are also used. And, finally, a piano that can actually fit in a pit (meaning an upright or baby grand). Don't waste your time on synths, electric pianos, organs, etc. There are so many of them on the market all ready, everybody I know has more than they need. Kontakt comes with some. So does Sonar. Take a look at your own collection. How many Rhodes pianos do you have? How many came bundled with something else? Including it in a Broadway collection will be overkill. And they're not used all that much in the theater.
Drums & Percussion: A decent drum kit. Especially patches for SOFTER accompaniments (brushes, lots of low velocity levels). The drums are going nearly ALL the time, to keep the singers and dancers in tempo. But they can't overpower the more delicate textures -- and yet we want a lot of volume for the big finale, too. A Broadway percussionist can be called on to play virtually any type of percussion toy, and anything with a mallet (especially the timpani and xylophone), so there should be lots of this kind of thing, too. And how about a timpani that can do a glissando?
Vocals. Soprano, alto, tenor and bass. In Broadway belt, ballad and contemporary styles. "La, La, La" is fine, as all we really need them for is to see how the accompaniment will sound with a voice when arranging (and later as a demo for real singers.) But, please, there are only two sexes -- don't leave the men out. There are so many damn libraries that are only ladies singing! Enough all ready. (And remember that not every man is a tenor.) Kids are okay, too. But sample boys AND girls.
I know Broadway and Big Band used to be pretty much the same style. But not any more. Today's Broadway scores have more in common with a contemporary orchestra that you might use on a pop single. Maybe a bit smaller. A lot of variety from a small number of players. That's what we want. All the composers for the theater that I know are using computers now. But everyone is using a miss matched hodgepodge of different virtual libraries because there is nothing out there that really fills that niche. It's surprises me that all collections either seem to be trying to be these big classical orchestras or just replace a rock combo. At least Garritan is showing some imagination (especially with JABB and the Marching band libraries) recognizing that music is played in many other venus besides classical concert halls and rock bands.
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Re: If you could make any sample collection
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