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  3. How can I Double the number of instruments?

  • How can I Double the number of instruments?

    M
    M
    Another newbie question:

    What can I do to make the Horizon "Camber Strings" sound like 12 violins, 8 Violas, 6 cellos and 4 Double Basses ? Any smart tricks here ? [*-)]:
  • P
    P
    Combine two different articulations, e.g. the sus patches with performance patches, different stac patches with each other and so on... not the smartest but somtimes only solution with tricky articulations (not availible in similar patches) is to combine the different layers with each other and boost or take those down in volume as needed. Smartest solution: Purchase First/Pro Edition/Opus 1 [:D]

    Hope this helps,
    PolarBear
  • P
    P
    Forgot to mention an obvious one... transpose the specific program up a halftone (or down if you need the lowest note).

    http://community.vsl.co.at/viewtopic.php?t=3066

    here is a recent topic that contains the same problem, but with broad unison lines of violins sections, there are also some other tips given.

    PolarBear
  • M
    M
    Thanks for your replies.
    I stilll havenĀ“t made a final decision about wich Strings-library I will buy. Horizon "Chamber Strings" or "Strings" Pro edtiton? I really have this obsession for large string ensembles [:D]

    Anyway: How about another solution for making strings sound big ?

    Lets say I type in a piece for strings in a sequencing program using "Chamber Strings"-samples. Then I add articulations,releases by perfromance tool,dynamics,strokes,bows etc. until I get the audible result I want,but dry, without any reverb. After that, I save the whole piece (all the strings instruments) as a audiotrack on the sequencer program. Then I copy that audiotrack so that I have two identical audiotracks starting at the same point. So, what if I then change the second (copied) audiotrack by altering the pitch and starting point by extremely small amounts. Then add a suitable reverb and mixing.

    As I see it, the result may be that the final audible result would sound like a larger ensemble because og the slight differences in intonation and rythmic precicion between the first and second audiotrack. I may be terrible wrong about this, but I do wonder if this is possible to accomplish. I donĀ“t have my DAW ready yet, so I canĀ“t try this out myself yet.
  • M
    M
    Oh [*-)] forgot to mention; I will buy Opus1, but have not yet deicided on whatever I will use Pro Editon "Strings" or Horizon "Chamber Strings" as a supplementary option.
  • P
    P
    Having two identical tracks only altered to a small amount will result in more or less audible phase problems. I would not pitch down the resulting file but all involved instruments, within the sampler - meaning to resave an pitched up/down instrument file duplicate. This is for adding another timbre (triggering other samples) to avoid phasing problems.

    If you will buy Opus 1 and Chamber Strings you can layer those both to get extremely large sections, or even layer Opus articulatons (a lot of combinations are possible). With Pro Edition you can get even bigger sections with layering. Use EQ wisely - that will be another big step (that is done for soundtracks often).

    Apart from that:
    Do you really think of writing for section sizes from 14 or 22 or even28 to endless players? 14 players is already a big section size, everything above pretty unusual (for one voice)... It's depending on your writing style a bit what to choose, as you may not always want the "big" sound, or perhaps achieve the "big" with the composition itself, meaning orchestration, or writing for divisi. Therefore you could be better off having more choices (in which respect - that's the choice between Pro Ed. Strings and Chamber Strings, so perhaps only helpful for a direction). Could you name an example that you are thinking of when saying "big sounding" section?

    Have a close look at the articulations list before choosing either, think of how many performance elements you get with each and if that would suit your needs.

    But I think the two packages are that different in sound that the choice *should* be easy when the needs are known.

    PolarBear
  • M
    M
    To name other examples of big-sounding orchestral lineups:
    Henryk Gorecky Symphony 2 & 3, R.Strauss orch.pieces, Arthur Honegger symphony.2, Mahler. Well, you know what I mean. [[;)]]

    The music I compose is often written for extended orchestra, ( standard symphonic orchestra plus some other non-classical instruments.) Also the double bass parts is placed rather prominent in my scores. I have recently finished a double bass concerto. If I could choose, I would prefer six 5-stringed double basses tuned down to A, but that may be a unattainable goal. [:D] So the downtuned double basses will really have a key role in my scores,and therefore important for me when I will use the VSL-libraies.