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Theoretically, in all VI instruments, are the playback volumes balanced with each other at the base? Do we have to adjust the master volumes ourselves (the fader is usually 100 in VI pro) and look for the balance in relation to the real power? For example, it is certain that trumpets are more piercing than trombones, but the difference in volume between the two, in VI, seems to me exaggerated.
I would like to have some opinions on the subject. Thank you in advance.
Do we have to adjust the master volumes ourselves (the fader is usually 100 in VI pro) and look for the balance in relation to the real power?
With the VI instruments, yes. With MirX or MIR Pro you can enable a feature called "Natural Volume" which will balance the instrument's volume in relation to all other instruments. Keep in mind that this feature balances things so that the loudest instrument (Timpani) just barely clips the meter when struck loud, so some things will seem unbelievably quiet in relation. All you need to do is find what the loudest instrument is, adjust that so it's peaking (at fortissimo) where you want it to peak, and adjust everything is in relation to that.
I really thought the job was done by Vienna. But since that's not the case, I'll do it. I am in the composition. Later I will see with MIR PRO. Thank you for the information.
Thank you. I understand at the base, I believe, the orchestral balance (it's a long learning), and I will be able to adjust in my own way. I wanted to know what VSL was initially doing as a balance, but you confirm the need to check all that. Basically, it's true, it's better to do the work yourself, it's a beginning of orchestration, a useful implementation.
I really thought the job was done by Vienna. But since that's not the case, I'll do it. I am in the composition. Later I will see with MIR PRO. Thank you for the information.
Unfortunately, it's impossible to have a "one size fits all" approach to gain staging orchestral samples due to the varying degrees of dynamic range needed in the intended final product. Even relative volumes between the instruments vary from project to project, usually depending on whether it's incidental or absolute music.
Thank you. I understand at the base, I believe, the orchestral balance (it's a long learning), and I will be able to adjust in my own way. I wanted to know what VSL was initially doing as a balance, but you confirm the need to check all that. Basically, it's true, it's better to do the work yourself, it's a beginning of orchestration, a useful implementation.
Try to make some time to study scores while listening to them and pay particular attention to how certain instruments blended with other balance and make good notes. It's a learning process. I am still learning. When in doubt, take a side trip to study scores while listening and research it. This is part of the art of learning real world orchestration and it will simply take a lot of time. It would easier if we were able to work with real live musicians on a regular basis, would learn these things rather quickly. But without having that opportunity, the only way is through methodical score study and talking to people for insights...on a case by case basis until you develop an understanding about these things.
With sample libraries it is just extremely easy to break from reality and extend the dynamic range of any instrument, without limits really. So you can easily end up creating music that would not be playable by real musicians if you're not careful. But on the other hand, does that really matter if you won't ever be able to have it performed by real musicians after all? In some ways, I think it might be fine to just use the sample libraries to make music that sounds good to you, mix it however you like in your DAW mixer until it sounds gorgeous, play it for your friends, don't worry about whether any real live musicians would be able to perform it or not, because unless that will actually happen, it doesn't really matter. Its just sound and music. Make it sound good.
On the other hand, if you are serious about the craft of orchestration, suitable for live players...then you will need to methodically study scores and learn how everything is able to blend together and then take care in your arrangements to constrain yourself to those restraints, regardless of the fact that DAW's and sample libraries will let you do the impossible.
You raise big questions about a starting point that is just a request for technical information on samples. I do not know if you are really responding to me or if this is an opportunity to talk about something that is important to you.
I have listened all my life (which is starting to be long) to orchestras, on record and live. I read Berlioz's treatises at a very young age, Widor's suite, then Rimsky-Korsakov's orchestration books. I am also friends with sound engineers dedicated to large orchestras, whose work I follow closely. I think I have an ear for the balance of instruments (my initial question follows my listening to the trumpet samples, too powerful for my ear, despite the natural power of the instrument). I never sought, however, to be played by an orchestra myself. The thing is inaccessible to me (and I have not worked very hard in this direction). I prefer to write for small sets, it's more realistic. But at the moment, I'm writing for a big band, which is a medium-sized orchestra (and more of a studio orchestra, so with strings). So I'm writing for a larger set than usual. This is why I return to full sections. I often work with Spitfire's BBC Pro for scale models (Spitfire's BBC is very well balanced: it exists), but I needed the saxophones and Spifire doesn't. So I turned to my library in Vienna. But I found that there were volume inconsistencies. But hey, we're not repeating this discussion. It is best to check and adjust yourself in any case.
However, I would like to come back to one of your comments. The one where you talk about building in virtual, without remaining fixed on the rendering of real instruments. You open the door to a very broad, very interesting discussion. For my part, that's what I do three-quarters of the time. I'm not interested in imitating the orchestra (my current job is to compose for a real jazz orchestra, so all my questions concern the creation of a model in support of a score, for decision-makers who do not read all music on paper) - except in the case of models. What interests me, however, is what virtual instruments can give that real instrumentalists cannot. Here, we open up remarkable perspectives.
For my part, what interests me more, in fact, is the mixture of the two, real and virtual. I composed a first project of this type a few years ago. : NOVIAUS TANZ, for violin, cello, virtual violins & virtual double bass. The score for violin and cello is recorded by two members of the Molinari Quartet. The rest is built by me in Pro Tools, with VSL instruments and without any connection with the reality of the instruments (while remaining plausible however). I give the link here for those who might be interested as a form: https://metis-islands.bandcamp.com/album/noviaus-tanz-for-violin-cello-virtual-violins-virtual-double-bass
I have been surprised for a very long time to see that most of the demo works presented on the Vienna site are orchestral imitations. Nothing for the virtual creation (or I'm wrong: it's been a long time since I have not peeled the site). Nothing for what is hybrid, like my example. Great discussion!
Maybe the translated language doesn't help (I write in French and then translate as I can), but I don't remember saying I was a beginner. But it's not important, let's not look at that. I just agree with you and I understand your very helpful comments on virtual instruments. Thank you.
