Massive orchestra .rns
Ok, as you may or may not know, I write bloody awful pseudo-classical-Celtic-ambient stuff.
What I have wanted to create for a long time is a .rns, with my "orchestra" already set up and ready to record in it.
This would have full strings, brass, woods, and a bit of timpani, arranged to sound the best that they can, and with mixer and effects settings to make it sound as "real" an orchestra as possible.
How would I use this? The aim would be to write tracks in a simple setup using "full orchestra" combie and other instruments, then to paste the "full orchestra" pieces across into my mighty orchestra.rns for transposing and orchestration.
So, my dear RT friends, if you wanted to indulge in this stupidity;
What instruments woudl you include/exclude?
How many of each?
How would you use the mixer to 'place" each instrument?
What effects would you use to add realism? (delays? reverbs? compressors?)
How best to set these effects?
What have I not thought of?
I have a good range of strings and orchestral refills, including Miroslav and Chambre stuff, plus bit and bobs found along the way.
Is there already a tutorial out the which covers all of this?
Any and all advice received with profound gratitude...
What I have wanted to create for a long time is a .rns, with my "orchestra" already set up and ready to record in it.
This would have full strings, brass, woods, and a bit of timpani, arranged to sound the best that they can, and with mixer and effects settings to make it sound as "real" an orchestra as possible.
How would I use this? The aim would be to write tracks in a simple setup using "full orchestra" combie and other instruments, then to paste the "full orchestra" pieces across into my mighty orchestra.rns for transposing and orchestration.
So, my dear RT friends, if you wanted to indulge in this stupidity;
What instruments woudl you include/exclude?
How many of each?
How would you use the mixer to 'place" each instrument?
What effects would you use to add realism? (delays? reverbs? compressors?)
How best to set these effects?
What have I not thought of?
I have a good range of strings and orchestral refills, including Miroslav and Chambre stuff, plus bit and bobs found along the way.
Is there already a tutorial out the which covers all of this?
Any and all advice received with profound gratitude...
Well first thing would be looking into typical orchestra placement, e.g.
Left/right is achieved through panning, depth through reverb.
Copy/pasting won't really work I suppose, arrangement (i.e. deciding which instruments play which parts at which octaves etc.) is a thing in itself that requires at least as much attention as the composition itself.
Left/right is achieved through panning, depth through reverb.
Copy/pasting won't really work I suppose, arrangement (i.e. deciding which instruments play which parts at which octaves etc.) is a thing in itself that requires at least as much attention as the composition itself.
Thansk mate.
Agreed, but having the basic tune already written will make orchestrating the parts that bit more easy.Copy/pasting won't really work I suppose, arrangement (i.e. deciding which instruments play which parts at which octaves etc.) is a thing in itself that requires at least as much attention as the composition itself
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Section size would depend on the scale of the piece itself, and what the section is doing.
I would avoid compression as much as possible because dynamics are so important in this kind of work.
Adding more reverb to the more percussive elements and less to the legato parts tends to sound better than drenching already blurry legato lines.
Layering section patches with a solo lead mixed in can help with realism.
EQ is probably the biggest tool for orchestral work. For Orkester stuff, I usually wanna shape the tone of each section to bring out the air at the top and get rid of the boxiness in the mids. They're actually some good recordings but they need some EQ polish to really shine.
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I would avoid compression as much as possible because dynamics are so important in this kind of work.
Adding more reverb to the more percussive elements and less to the legato parts tends to sound better than drenching already blurry legato lines.
Layering section patches with a solo lead mixed in can help with realism.
EQ is probably the biggest tool for orchestral work. For Orkester stuff, I usually wanna shape the tone of each section to bring out the air at the top and get rid of the boxiness in the mids. They're actually some good recordings but they need some EQ polish to really shine.
Sent from my iPhone using Tapatalk
When you finish this template, will you release itTaff wrote:Ok, as you may or may not know, I write bloody awful pseudo-classical-Celtic-ambient stuff.
What I have wanted to create for a long time is a .rns, with my "orchestra" already set up and ready to record in it.
This would have full strings, brass, woods, and a bit of timpani, arranged to sound the best that they can, and with mixer and effects settings to make it sound as "real" an orchestra as possible.
How would I use this? The aim would be to write tracks in a simple setup using "full orchestra" combie and other instruments, then to paste the "full orchestra" pieces across into my mighty orchestra.rns for transposing and orchestration.
So, my dear RT friends, if you wanted to indulge in this stupidity;
What instruments woudl you include/exclude?
How many of each?
How would you use the mixer to 'place" each instrument?
What effects would you use to add realism? (delays? reverbs? compressors?)
How best to set these effects?
What have I not thought of?
I have a good range of strings and orchestral refills, including Miroslav and Chambre stuff, plus bit and bobs found along the way.
Is there already a tutorial out the which covers all of this?
Any and all advice received with profound gratitude...
I would just make a new topic in the "refills and patches" thread.Taff wrote:Thanks all!
I'd be happy to release it modecca, how would I do that?
It could be titled "Massive Orchestra Templete."
Just attach the compressed .rns file (they are small) inside your comment.
example:
The only advice I could give is that you should keep in mind that violins and other stringed instruments have two different sounds depending on the bowing. And that woodwinds need to take a breath sometimes, and generally have a slightly sharper attack when they have. I'd also put your strings a little farther back, the cello cuts into the drums a bit too much.
Sounds great so far!
Sounds great so far!
If you ain't hip to the rare Housequake, shut up already.
Damn.
Damn.
Decided to go a different route now.
The Orchestra .rns is too huge and cumbersome to make it practical, having some 56 NNXT samplers, plus assorted effects in it.
So, bright bugger here is now going to make up "strings", "brass", "woods" and timpani n & harps" etc as separate .rns entities.
This should allow me to get away with say 30 NNXT in each, and make placement, depth and "realism" more achievable.
The resulting audio tracks will be merged in reason or Audition for final mastering.
Am I mad?
The Orchestra .rns is too huge and cumbersome to make it practical, having some 56 NNXT samplers, plus assorted effects in it.
So, bright bugger here is now going to make up "strings", "brass", "woods" and timpani n & harps" etc as separate .rns entities.
This should allow me to get away with say 30 NNXT in each, and make placement, depth and "realism" more achievable.
The resulting audio tracks will be merged in reason or Audition for final mastering.
Am I mad?
No, you are not mad at all. This is a wonderful project, and I hope you share the results. I have started getting into orchestration and this would really help me out.Taff wrote:Decided to go a different route now.
The Orchestra .rns is too huge and cumbersome to make it practical, having some 56 NNXT samplers, plus assorted effects in it.
So, bright bugger here is now going to make up "strings", "brass", "woods" and timpani n & harps" etc as separate .rns entities.
This should allow me to get away with say 30 NNXT in each, and make placement, depth and "realism" more achievable.
The resulting audio tracks will be merged in reason or Audition for final mastering.
Am I mad?
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