Guy, bear with me, I'm going to try again.
Re: "working both ways" (sounds vs. orchestra imitation)
I was attempting to convey that there are not just two ways of doing these things. There are infinite. If your aesthetic tells you that the strings are not warm enough but you could layer in some warm synth strings--then do it. Who cares if people draw certain comparisons or associations? One doesn't have to be a purist.
Now I'm sure you're not a purist (unless you choose to be as the situation dictates) but my point was that association is inevitable so make it work to your advantage. Layer the synths in real low so they still sound like strings but just warmer.
I provided the studio anecdotes as a way of indicating my success with this approach (paradigm).
So I was trying to help you find and rationalize a method of working this string thing of yours out, tying it into the fact that the general public won't hear the artificial sound of the synth.
William,
Yes I have to confess I am spoiled not just by the level of musicianship on commercial recordings but also by the musicians I surround myself with. The fact that I can take a friend out to lunch in return for some killer overdubs really makes me appreciate my lot in life.
I should have known you were thinking in a real-world scenario with that samples over-statement. After all, that was partially my point with the mock-up vs. real (bad) orchestra anecdote.
Clark
Re: "working both ways" (sounds vs. orchestra imitation)
I was attempting to convey that there are not just two ways of doing these things. There are infinite. If your aesthetic tells you that the strings are not warm enough but you could layer in some warm synth strings--then do it. Who cares if people draw certain comparisons or associations? One doesn't have to be a purist.
Now I'm sure you're not a purist (unless you choose to be as the situation dictates) but my point was that association is inevitable so make it work to your advantage. Layer the synths in real low so they still sound like strings but just warmer.
I provided the studio anecdotes as a way of indicating my success with this approach (paradigm).
So I was trying to help you find and rationalize a method of working this string thing of yours out, tying it into the fact that the general public won't hear the artificial sound of the synth.
William,
Yes I have to confess I am spoiled not just by the level of musicianship on commercial recordings but also by the musicians I surround myself with. The fact that I can take a friend out to lunch in return for some killer overdubs really makes me appreciate my lot in life.
I should have known you were thinking in a real-world scenario with that samples over-statement. After all, that was partially my point with the mock-up vs. real (bad) orchestra anecdote.
Clark