Not sure, if you are still on this channel, but thanks for this! There are so many tutorials on youtube where "professionals" explaining how to layer orchestral sounds, but in the end they play several tracks simultanous by random, dont even touch an EQ on the instrument track, but in the master channel they paint a loudness curve and fire up izotope plugins to remove the so called "muddiness". And they pretend to have more than 10 years professional experience in this industry and blabla. I am really glad for your video.. That's actually an audio engineers approach! And as I am cycling myself : Take care, I wish you the best! :-) 👍
Interesting tutorial, I see that you also add a layer of solo violin to the ensemble layer, quite effective in making the articulations more noticeable. Sometimes it can sound more natural if I play the same melody again to create a lagging or humanizing effect. Although I do that more for the staccatos and spiccatos part.
Thanks Luis. I do similar things too like you mention. Record the same part twice (with different patches) and just at a difference of a couple of mili-seconds between the two parts. Gives a very good result 🤓
Nice! As an instrumentalist and orchestrator, the concept of layering is very complicated to me… I never thought to add flute and choir to create strings sound ^^ Indeed it sound very well! So I'll try to use layering :)
You’re welcome! We all deserve great layered strings sound. If you would like, let me know about the result. And if you have any questions, feel free to ask 🤓
Awesome tutorial! Did not expect, that you have so many patches running. It sounds beautiful! And thank you for showing your individual EQ on each patch, thats very helpful! Cant wait for your hybrid trailer track😁 Im very interested in that genre, and excited to watch your upcomming tutorials😀 Thank you, and best wishes!
Thanks 🙏 I love these layering tactics. Also for brass, woodwinds and percussion. You can create really full sounds with enough depth, width and sonic layers. I can’t wait for the release of Unleashed too 😁
Most interesting. I have been panning my first violins (Close mic -30, Stage Mic 0) And haven’t tried removing that much low end, instead working on the 200-300Ghz range and lowering it there to get rid of Mic Ambience which can stack against the piece with full instrumentation. I am going to try your EQ technique, and am excited about this.My panning is extremely wide giving lots of room for the woodwinds between -20 and 10 though. I find this makes for a better overall signal pattern when mixing.
You conjured up a wonderful sound with this great technique. I see you use Komplete Kontrol for this video. Do you use it for all your tracks? Also, when transpiring in Kontakt, does that literally transpose the notes. you play up by 12, or does it pitch shift the samples? Many thanks for your great videos.
I use Komplete Kontrol and Kontakt for individual tracks. And sometimes I use Kontakt within Komplete Kontrol. Depends on how lazy I am or if I want to make use of presets of my keyboard (goes through Komplete Kontrol). So I do both and mixed. Transposing like I show you in the video means that you literally play up by 12. It doesn't pitch swift the samples.
Sounds amazing indeed...you explain everything so well...even though I am not gifted in this :) ...still enjoy your vids...so very realistic sounds....
Can you make a tutorial about how to arrange each part of an orchestral hit stab chord ? I mean those that sound powerfully but are short chord at the same time.
Thanks for this. I am curious, though, why you chose to make the panning and levelling adjustments within each Kontakt instrument. Wouldn't they be easier to control from each track on the arrange page? Having to open each instrument to make adjustments seems like an unnecesary stress. What am I missing? Thanks!
Good question! I do this (old habit) so I can save those settings in Kontakt and easily insert them in any other project. If that makes sense to you ...
It's a great sound and I also use a lot of layering in my projects. However everytime after I did layering, I felt guilty since I am increasing the number of virtual players.... I have a musician friend from classical background. He called this layering and other similar techniques (combining long strings and marcato strings to increase attack etc) "evil cult" since he think it does not make sense. So I wonder how do you think about this opinion?
I can imagine that your friend thinks like this as he is a musician. The main two questions that you need to answer honestly are: 1. Are you going for the most realistic mockup (sound) with the ambition that your composition can be performed by a real orchestra (then don’t do this!)? 2. Or is your ambition to make a composition, a music track, that just sounds great (not realistic perse) that doesn’t have to be performed live by an orchestra? Both are fine in my opinion. Just be clear about your ambition, the purpose of the music track. By the way, most of the music in films these days are totally not realistic. If you want to get that sound you’ll need 100s of violins, cello’s etc. Hans Zimmer, the master himself, is one of the great examples of this. His pieces sound awesome and are beautiful, but not always that realistic. But we still love them ... at least, I do 😉
Thank you so much for sharing. You're a golden source of inspiration!
That’s a great compliment 🙏
Not sure, if you are still on this channel, but thanks for this! There are so many tutorials on youtube where "professionals" explaining how to layer orchestral sounds, but in the end they play several tracks simultanous by random, dont even touch an EQ on the instrument track, but in the master channel they paint a loudness curve and fire up izotope plugins to remove the so called "muddiness". And they pretend to have more than 10 years professional experience in this industry and blabla.
I am really glad for your video.. That's actually an audio engineers approach! And as I am cycling myself : Take care, I wish you the best! :-) 👍
Very helpful and useful tutorial! I'll be sure to apply these techniques next time I use strings
Great! I hope it works out well. If you would like, let us know about the result. And if you have questions, feel free to ask 😉
Interesting tutorial, I see that you also add a layer of solo violin to the ensemble layer, quite effective in making the articulations more noticeable. Sometimes it can sound more natural if I play the same melody again to create a lagging or humanizing effect. Although I do that more for the staccatos and spiccatos part.
Thanks Luis. I do similar things too like you mention. Record the same part twice (with different patches) and just at a difference of a couple of mili-seconds between the two parts. Gives a very good result 🤓
Awesome idea! It's very new to me. I think I should try this later. Thank you so much for sharing your talent.
Just doing my best Jinnie 😊
Great to hear that your wrists are ok again. Love to hear you play the piano!
Nice! As an instrumentalist and orchestrator, the concept of layering is very complicated to me… I never thought to add flute and choir to create strings sound ^^
Indeed it sound very well! So I'll try to use layering :)
Great! Just experiment with it until you find a sound that you like and fits your composition. Just make sure it does sound full and awesome 😎
EQ'ing down the first harmonic sounds so strange to me because you don't always play the same note. What's the rationale behind that EQ move?
I will have to try this tomorrow.Thanks David.
You’re welcome! We all deserve great layered strings sound. If you would like, let me know about the result. And if you have any questions, feel free to ask 🤓
Awesome tutorial! Did not expect, that you have so many patches running. It sounds beautiful! And thank you for showing your individual EQ on each patch, thats very helpful! Cant wait for your hybrid trailer track😁 Im very interested in that genre, and excited to watch your upcomming tutorials😀 Thank you, and best wishes!
Thanks 🙏
I love these layering tactics. Also for brass, woodwinds and percussion. You can create really full sounds with enough depth, width and sonic layers.
I can’t wait for the release of Unleashed too 😁
bedankt… nice job;)
Thanks 🙏
Most interesting. I have been panning my first violins (Close mic -30, Stage Mic 0) And haven’t tried removing that much low end, instead working on the 200-300Ghz range and lowering it there to get rid of Mic Ambience which can stack against the piece with full instrumentation. I am going to try your EQ technique, and am excited about this.My panning is extremely wide giving lots of room for the woodwinds between -20 and 10 though. I find this makes for a better overall signal pattern when mixing.
Really curious about the result Wesley. Can you share your composition when ready?
@@gh0stwrit3r Hi GhOstwrit3r. I would be happy to send you a few short & a long orchestral piece(s) to hear the results. Where should I send them? Wes
You conjured up a wonderful sound with this great technique. I see you use Komplete Kontrol for this video. Do you use it for all your tracks? Also, when transpiring in Kontakt, does that literally transpose the notes. you play up by 12, or does it pitch shift the samples? Many thanks for your great videos.
I use Komplete Kontrol and Kontakt for individual tracks. And sometimes I use Kontakt within Komplete Kontrol. Depends on how lazy I am or if I want to make use of presets of my keyboard (goes through Komplete Kontrol). So I do both and mixed.
Transposing like I show you in the video means that you literally play up by 12. It doesn't pitch swift the samples.
@@gh0stwrit3r Thanks for explaining :)
Sounds amazing indeed...you explain everything so well...even though I am not gifted in this :) ...still enjoy your vids...so very realistic sounds....
Thanks Therese 🙏
Doing my best to pay it forward!
Really well done!
I left you a like !
That’s lovely 😊
@@gh0stwrit3r 💙
@@gh0stwrit3r 💙
Can you make a tutorial about how to arrange each part of an orchestral hit stab chord ? I mean those that sound powerfully but are short chord at the same time.
I have put it on my tutorial to-do list!
Hi David,
I was wondering why you didn't use the plugin precedence you recommeded earlier but panned manually ? Cheers
I sometimes use precedence and sometimes use stereo panning directly out of my DAW. It depends on the library, but most of all … my intentions.
Geweldige uitleg en kanaal. Groet, Ray (floatwithme)
Thanks Ray 🙏
Thanks for this. I am curious, though, why you chose to make the panning and levelling adjustments within each Kontakt instrument. Wouldn't they be easier to control from each track on the arrange page? Having to open each instrument to make adjustments seems like an unnecesary stress. What am I missing?
Thanks!
Good question! I do this (old habit) so I can save those settings in Kontakt and easily insert them in any other project. If that makes sense to you ...
@@gh0stwrit3r Ok, I understand. Thanks for the reply :)
It's a great sound and I also use a lot of layering in my projects. However everytime after I did layering, I felt guilty since I am increasing the number of virtual players....
I have a musician friend from classical background. He called this layering and other similar techniques (combining long strings and marcato strings to increase attack etc) "evil cult" since he think it does not make sense. So I wonder how do you think about this opinion?
I can imagine that your friend thinks like this as he is a musician. The main two questions that you need to answer honestly are:
1. Are you going for the most realistic mockup (sound) with the ambition that your composition can be performed by a real orchestra (then don’t do this!)?
2. Or is your ambition to make a composition, a music track, that just sounds great (not realistic perse) that doesn’t have to be performed live by an orchestra?
Both are fine in my opinion. Just be clear about your ambition, the purpose of the music track.
By the way, most of the music in films these days are totally not realistic. If you want to get that sound you’ll need 100s of violins, cello’s etc. Hans Zimmer, the master himself, is one of the great examples of this. His pieces sound awesome and are beautiful, but not always that realistic. But we still love them ... at least, I do 😉