Having recently made the jump from VSL to Vienna Instruments, I am already noticing a big difference to my workflow, and paying more attention to orchestration rather than 'which articulation shall i go for.'
Anyway, I was wondering how you approach mocking-up the brass choir, especially when used in pairs, as this is the standard approach to setting out the horns and trombones, e.g.
Ho1+2
Ho3+4
(Ho 5+6)
(Ho 7+[H]
TTb1+2
Trb3+BTr
Approaching horns first; obviously, when employed in unison, one would use the 4-horn, or 8-horn patches depending on the number of horns required. Similarly, closed space 4-note chords would be done with the solo horn patches - although these can sound thin due to the perfect tuning. Do people use 4 seperate VI instances for this i.e. detuning each one slightly? - yes, if you have obscene amounts of RAM available is the answer to that I suppose.
How about when horns are used in pairs (octaves, fifths, 3rds)? I suppose if 8 horns are used, then the 4-horn patches are perfect, but what about a 4-horn setup? do you go for the solo horn, or 4 horn patches?
and how about trombones? these are commonly deployed in octaves, in the arrangement above. So would upper part = 3 trombones patch, lower part = solo trombone + bass trombone?
Perhaps I'm worrying too much about doing the 'right thing' as opposed to just doing what sounds right, but i feel i should stick to the traditional principles of orchestration, given that one day in the distant future there might come a time when my orchestrations are performed by a real orchestra!
T.
Anyway, I was wondering how you approach mocking-up the brass choir, especially when used in pairs, as this is the standard approach to setting out the horns and trombones, e.g.
Ho1+2
Ho3+4
(Ho 5+6)
(Ho 7+[H]
TTb1+2
Trb3+BTr
Approaching horns first; obviously, when employed in unison, one would use the 4-horn, or 8-horn patches depending on the number of horns required. Similarly, closed space 4-note chords would be done with the solo horn patches - although these can sound thin due to the perfect tuning. Do people use 4 seperate VI instances for this i.e. detuning each one slightly? - yes, if you have obscene amounts of RAM available is the answer to that I suppose.
How about when horns are used in pairs (octaves, fifths, 3rds)? I suppose if 8 horns are used, then the 4-horn patches are perfect, but what about a 4-horn setup? do you go for the solo horn, or 4 horn patches?
and how about trombones? these are commonly deployed in octaves, in the arrangement above. So would upper part = 3 trombones patch, lower part = solo trombone + bass trombone?
Perhaps I'm worrying too much about doing the 'right thing' as opposed to just doing what sounds right, but i feel i should stick to the traditional principles of orchestration, given that one day in the distant future there might come a time when my orchestrations are performed by a real orchestra!
T.
