New PDF release: Artistic orchestration

By Alan Belkin

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Long notes should usually have some dynamic evolution (often realized with midi controller #7). * Woodwinds: Solo winds need especially expressive playing. Make sure that the dynamics and articulations chosen fit the instrument. * Brass: This is the hardest group to simulate, since brass change more over their (large) dynamic range than other sounds do. It is essential to have different samples at various dynamic levels, and also some way of creating natural crescendi and diminuendi. To some extent this can be approximated by taking a loud brass sound and programming a filter to open, following a midi controller as needed.

Orchestral simulation is easier than chamber or solo simulation, since the individual instruments are heard less often alone, and defects in the sounds are less noticeable. * Where budget permits, simulation can be much improved by recording a few of the main parts with real instruments, and using synthetic sounds to fill in the rest. * Vocal simulation is not currently satisfactory. My own experience is that while a good orchestra is always more exciting than a good simulation, a good simulation often sounds better than a poor orchestra.

Make sure that the dynamics and articulations chosen fit the instrument. * Brass: This is the hardest group to simulate, since brass change more over their (large) dynamic range than other sounds do. It is essential to have different samples at various dynamic levels, and also some way of creating natural crescendi and diminuendi. To some extent this can be approximated by taking a loud brass sound and programming a filter to open, following a midi controller as needed. Also the resonance created between brass instruments in a real ensemble (the metal of each instrument vibrates slightly in sympathy with the others playing around it) is very prominent and creates strong beating effects that enrich the sound considerably.

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Artistic orchestration by Alan Belkin


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