The Art of MIDI Orchestration, by Jerry Gerber

[Jerry Gerber]

I hope this article on MIDI sequencing gives some insight and tips on how to improve your virtual orchestrations:

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Jerry

[Vesp]

good article!

[Cyril Blanc]

Hello Jerry,

I like this part :

Many musicians like to pan the virtual orchestra by following the seating arrangement of the acoustic orchestra. But listening to music through two speakers is missing some of the sonic information that the concert hall provides so a technical response is required. The double basses in the orchestra are usually off to the right side of the ensemble. But with two speakers, the bass often sounds best in the center. If you're producing in surround this won't be of use, for now I am assuming stereo as the default. I prefer the 1^st and 2^nd violins panned hard left and hard right, violas soft left, cellos soft right and basses in the center. This gives a full stereo panorama of strings. When the 1^st and 2^nd violins are playing two distinct melodic lines, the stereo separation helps create the illusion of a larger space. An instrument sometimes employs a dynamic panning scheme, where the pan changes and fluctuates with the interplay of the pitches and rhythms, thereby using pan as dynamic rather than passive element in the mix. This is commonly done with percussion but can be done with any sound or voice.

With the winds, I tend to use reverb to create a softer, rounder sound, but in considering a smaller ensemble this may not work as well. To understand how to write better for the wind family listen to a piece such as Stravinsky's Octet for Wind Instruments. The virtual winds have been know to sound like an organ if the composer isn't paying close enough attention and/or the sample library is not of sufficient quality. A generous amount of reverb, fairly dark with a two second or more reverb time helps to soften the winds and blend them into the texture better. 

Unlike in some acoustic situations where something may be recorded dry, I always monitor and record the virtual orchestra with reverb, and try to settle the reverb parameters early in the process. When I find a reverb I like I stick with it until I feel the need to change it. With singers every voice is different and may require a unique coloration of reverb. Though there is not one correct way to use reverb, reverberation is a critical element and even small adjustments in filtering, amplitude, or decay time can help produce a more expressive sound. 

Are you using MIR PRO 3D ?
Do you have some remarks to help us using it better ?
I am having hard time mixing 3 x symphonic songs that also have Synths ; I want to release them very soon

I use Synchron Stage wide for the orchestra, the synths and the singer ; Pernegg for the choir

I did not add any MIR X.

The levels are at 0 dB in MIR, Logic Pro is dealing with them.

The singer voice in the center was covering the whole orchestra, so for the moment I have put it on the right so it is not covering the violons, viola, winds and brass. The advantage is that the right part of the orchestra are basses and the singer (female) voice is much higher ;  is that a good idea ? do you have a better one ?

Sorry for my English

Kind Regards

Cyril Blanc

[Jerry Gerber]

@Cyril Blanc said in [The Art of MIDI Orchestration, by Jerry Gerber](/post/317802):

Hello Jerry,

Are you using MIR PRO 3D ?

I'm running MIR Pro, but I don't think it's 3D.

Do you have some remarks to help us using it better ?

Experiment, experiment, experiment.  Come up with a sound that pleases your ear. 

I am having hard time mixing 3 x symphonic songs that also have Synths ; I want to release them very soon

I use Synchron Stage wide for the orchestra, the synths and the singer ; Pernegg for the choir

I did not add any MIR X.

The levels are at 0 dB in MIR, Logic Pro is dealing with them.

All the levels are at 0dB?  That doesn't leave you any headroom for mixing or processing.

The singer voice in the center was covering the whole orchestra, so for the moment I have put it on the right so it is not covering the violons, viola, winds and brass. The advantage is that the right part of the orchestra are basses and the singer (female) voice is much higher ;  is that a good idea ? do you have a better one ?

If there's only one singer I'd place the vocalist in the center.  Someone else might do it differently.

 

 

Sorry for my English

No problem!

Kind Regards

Cyril Blanc