# My big fat guide to using a virtual orchestra.



## alexballmusic (May 24, 2018)

Hi all

I've made an hour long guide to using VIs to create realistic orchestral mock ups and recordings. Hope it's helpful.


----------



## PaulBrimstone (May 24, 2018)

This is a great resource: watch and learn! I wish I had Alex's production skills.


----------



## ZOZZ (May 24, 2018)

Sweet! Admire your work Alex. I will definitely be watching this for tips on making my machines behave as well as you've tamed yours. Cheers!


----------



## alexballmusic (May 24, 2018)

ZOZZ said:


> Sweet! Admire your work Alex. I will definitely be watching this for tips on making my machines behave as well as you've tamed yours. Cheers!



Haha, nicely put. Hope you enjoy.


----------



## fixxer49 (May 24, 2018)

alexballmusic said:


> Hi all
> 
> I've made an hour long guide to using VIs to create realistic orchestral mock ups and recordings. Hope it's helpful.



you magnificent bastard. thank you


----------



## studiostuff (May 24, 2018)

Am I hearing subtle pitch modulation in several of the soloed string examples...? 

Perhaps it's just the way the pitch falls when combining one library with another. (There was a example with Spitfire SCS and LASS during which it sounded to me at though there was pitch modulation on the LASS track.) (Also, some of the bigger section examples had some sort of pitch artifacts that attracted my attention when soloed.) 

Obviously, when the entire orch was playing, the pitch changes I hear were much harder to hear, and may have added a bit of realism to the recording. (No offense meant-AT ALL-to my actual human string playing pals!!!) 

The vid is wonderful. Thanks for making it available here.


----------



## Daniel (May 24, 2018)

THank you Alex


----------



## procreative (May 24, 2018)

Very well explained and great insights. You should consider creating some paid for courses as you have a very clear presenting style. Particularly like the comment over pulling back on dynamics.


----------



## muziksculp (May 24, 2018)

@alexballmusic ,

Many Thanks for making this wonderful, and helpful video tutorial, very well done. 

Q. Do you start your project in Cubase, or in a notation program (i.e. Finale, ..etc.), then import the midi, and tweak it in Cubase ?

Cheers,
Muziksculp


----------



## ChrisSiuMusic (May 24, 2018)

alexballmusic said:


> Hi all
> 
> I've made an hour long guide to using VIs to create realistic orchestral mock ups and recordings. Hope it's helpful.



Awesome Alex, thanks for this! Will grab my water and cookies and settle in


----------



## Saxer (May 24, 2018)

Very good and informative video! Thanks for sharing!


----------



## alexballmusic (May 24, 2018)

studiostuff said:


> Am I hearing subtle pitch modulation in several of the soloed string examples...?
> 
> Perhaps it's just the way the pitch falls when combining one library with another. (There was a example with Spitfire SCS and LASS during which it sounded to me at though there was pitch modulation on the LASS track.) (Also, some of the bigger section examples had some sort of pitch artifacts that attracted my attention when soloed.)
> 
> ...



Yes you absolutely are. That's coming from either Izotope Vinyl on the group channels or U-he Satin, Vulf Compressor or Abbey Road Vinyl on the mix bus. When instruments are solo'd it is more obvious but it blends more when everything is passing through it together.


----------



## alexballmusic (May 24, 2018)

muziksculp said:


> @alexballmusic ,
> 
> Many Thanks for making this wonderful, and helpful video tutorial, very well done.
> 
> ...



Thanks. I do it entirely in Cubase. I play some stuff in and draw other parts depending upon difficulty and how much forensic sculpting is needed.


----------



## muziksculp (May 24, 2018)

alexballmusic said:


> Thanks. I do it entirely in Cubase. I play some stuff in and draw other parts depending upon difficulty and how much forensic sculpting is needed.



Thanks for the feedback.

I'm guessing it takes quite some time to complete one of these pieces. Given the amount of programming, both real time, and manual-mouse based editing required, and even the actual note data, automation, orchestration, arranging, ..etc. can get quite complex. then the mixing, engineering, ..etc. but the important part is ... It all pays off at the end !

Oh... and I like your term : *Forensic Sculpting*


----------



## alexballmusic (May 24, 2018)

muziksculp said:


> Thanks for the feedback.
> 
> I'm guessing it takes quite some time to complete one of these pieces. Given the amount of programming, both real time, and manual-mouse based editing required, and even the actual note data, automation, orchestration, arranging, ..etc. can get quite complex. then the mixing, engineering, ..etc. but the important part is ... It all pays off at the end !
> 
> Oh... and I like your term : *Forensic Sculpting*



Yes, these aren't quick to do! I do them in stages over several weeks. Probably take 16 hours or so in total. Possibly even more.

Forensic sculpting - haha, yeah. You have to get the magnifying glass and tweezers out when editing.


----------



## jononotbono (May 24, 2018)

Just finished watching it. Thank you. Probably one of the best You Tube videos I have ever watched. You have a brilliant tuition method. Will you be making anymore?


----------



## Josh Richman (May 25, 2018)

Loved it! F'n incredible to have such a detailed walk through from beginning to end. Just an honest strait forward walk through, not trying to hide or obscure any tricks or processes. (shows all the plugins used, how and where) What a breath of fresh air. You can sense a composer who can really write, b/c he's not obfuscating the process in mystery.

Simply awesome. Thanks!


----------



## alexballmusic (May 25, 2018)

Josh Richman said:


> Loved it! F'n incredible to have such a detailed walk through from beginning to end. Just an honest strait forward walk through, not trying to hide or obscure any tricks or processes. (shows all the plugins used, how and where) What a breath of fresh air. You can sense a composer who can really write, b/c he's not obfuscating the process in mystery.
> 
> Simply awesome. Thanks!



Thanks, appreciate it. Thought I'd try and show things in reality, so glad that came across!


----------



## alexballmusic (May 25, 2018)

jononotbono said:


> Just finished watching it. Thank you. Probably one of the best You Tube videos I have ever watched. You have a brilliant tuition method. Will you be making anymore?



Thanks. I think I'll start incorporating more tutorials, although it wasn't what I was originally intending to do lots of when I ventured onto YouTube. I enjoy making music and videos and playing around with different instruments and genres. But I realise there's only so much of my music people will listen to before they want something that's of use to them, so I'll probably start balancing things with more tutorials so it's a two-way thing.


----------



## jononotbono (May 25, 2018)

alexballmusic said:


> Thanks. I think I'll start incorporating more tutorials, although it wasn't what I was originally intending to do lots of when I ventured onto YouTube. I enjoy making music and videos and playing around with different instruments and genres. But I realise there's only so much of my music people will listen to before they want something that's of use to them, so I'll probably start balancing things with more tutorials so it's a two-way thing.



No man. Seriously, just videos of you with your own music and going through how you wrote them. Or live writing sessions would be incredible! I know, I know. I'm so demanding haha! You don't have to do anything of course but it would be appreciated so much.


----------



## procreative (May 25, 2018)

You know what would be a paid-for course I would jump on? Imagine taking a piece of music, making available a kit of components for example score, audio clip and a complete video walkthrough on how to transpose this into a midi mockup complete with cc manipulation etc.

Basically a paint by numbers jigsaw puzzle to end up with a mockup.

Its a big undertaking, but I feel in one project people could learn how to maximise their ability to tease convincing orchestrations and also hone their midi editing skills and ears.

Its one thing downloading someone else's midi (like the PS tutorials) but another to learn how to program and play your own.

I have been midi programming since the early 80s and only touched midi cc in 2010! Back in the old days of hardware sequencers you felt you were lucky to be able to record notes let alone massage expressiveness.

Even things like velocity in the early days were a hidden art. I even remember sequencers with 100 step limits...

Those of you born into a world or RRs, Dynamic Layers and Legato have no idea!!


----------



## studiostuff (May 25, 2018)

alexballmusic said:


> Yes you absolutely are. That's coming from either Izotope Vinyl on the group channels or U-he Satin, Vulf Compressor or Abbey Road Vinyl on the mix bus. When instruments are solo'd it is more obvious but it blends more when everything is passing through it together.


Alex, I may have to steal that idea from you.  Thanks for your reply!


----------



## alexballmusic (May 25, 2018)

procreative said:


> You know what would be a paid-for course I would jump on? Imagine taking a piece of music, making available a kit of components for example score, audio clip and a complete video walkthrough on how to transpose this into a midi mockup complete with cc manipulation etc.
> 
> Basically a paint by numbers jigsaw puzzle to end up with a mockup.
> 
> ...



Yes, I would have loved to do something like myself when I was learning. I don't think I'm going to venture into doing courses that I charge for, but perhaps I could do something on a smaller scale using that concept. Like putting together 8 bars of Danny Elfman or something, step by step from nothing.

Midi - I'm possibly a little older than you realise. I started when Edirol was the amazing cutting-edge orchestral library! And I had several years of four-track tape recorders and nothing else. But I was a child in the 80s, so don't go back into the stone age days of midi! I've definitely seen it make huge progress in the last 20 years, it's SO much easier now for all kinds of reasons, as you say.


----------



## AlexanderSchiborr (May 25, 2018)

Hey Alex,

Will check your video out later. Pretty sure I can learn something but what I heard sounds great! Looking forward to it.


----------



## benmrx (May 25, 2018)

alexballmusic said:


> perhaps I could do something on a smaller scale using that concept. Like putting together 8 bars of Danny Elfman or something, step by step from nothing



I would love to see that!! Especially if you went back to a quirkier Elfman, ala Pee Wee’s Big Adventure.


----------



## jtenney (May 25, 2018)

Thank you Alex! The Perpetual Newbie (myself) will happily peruse your video!!


----------



## procreative (May 25, 2018)

alexballmusic said:


> Yes, I would have loved to do something like myself when I was learning. I don't think I'm going to venture into doing courses that I charge for, but perhaps I could do something on a smaller scale using that concept. Like putting together 8 bars of Danny Elfman or something, step by step from nothing.
> 
> Midi - I'm possibly a little older than you realise. I started when Edirol was the amazing cutting-edge orchestral library! And I had several years of four-track tape recorders and nothing else. But I was a child in the 80s, so don't go back into the stone age days of midi! I've definitely seen it make huge progress in the last 20 years, it's SO much easier now for all kinds of reasons, as you say.



Thats would amazing!

I started at the beginning of Midi just after it overtook CV/Gate (about 1982/3), I have had all the hardware but always seem to sell it at just the wrong time!

eg I sold a TR808 just before Acid House exploded (bought off a guy with a Fairlight in his lounge!). I also sold a JX3P I had been using as a doorstop for years thinking nobody would want what was a middle of the road synth in between a Juno and a Jupiter 8. I used to have an MC202 or such that could only sequence 2 notes at a time and had a maximum note memory of 24000 notes which had to be shared across all projects.

Then I had a Yamaha TQ5 sequencer that had a tiny LED and was an absolute pig to program so I always played everything in at half tempo then quantized as step recording was a nightmare on it.

But I digress!

Got to say your mockups are superb though!


----------



## Dewdman42 (May 25, 2018)

damn, this video makes me want to buy more sample libraries...


----------



## Ihnoc (May 25, 2018)

@alexballmusic Thanks for this. Been watching your content over the past few months so this is really welcome to see how you put these great mockups together. I do have a question about what you go through in this video, if you're willing.

You make several points about stereo width and reducing it. I can understand why you do this for something that needs a light music feel to fit the mono nature of those recordings but for the 1980s+ scores I find it a little surprising because it isn't something I've seen discussed with sample libraries before. Why do you reduce the width? Is it something about making the sound more focused and positioned? What is the effect you are trying to achieve by doing this?

P.S. _Get Your Love Through The Radio_ is pure brilliance and persuaded me to pick up a Juno VST which opened me to all kinds of fun. It's still my favourite track of yours. I love all the gear inspired tracks you do too.


----------



## Paul T McGraw (May 25, 2018)

@alexballmusic I thoroughly enjoyed the video. I have been watching all of your videos for some time now, and I look forward to them. Do not completely dismiss the idea of paid tutorial videos. Unless you are independently wealthy.


----------



## quantum7 (May 25, 2018)

Great video! Thanks for that.


----------



## alexballmusic (May 26, 2018)

Ihnoc said:


> @alexballmusic Thanks for this. Been watching your content over the past few months so this is really welcome to see how you put these great mockups together. I do have a question about what you go through in this video, if you're willing.
> 
> You make several points about stereo width and reducing it. I can understand why you do this for something that needs a light music feel to fit the mono nature of those recordings but for the 1980s+ scores I find it a little surprising because it isn't something I've seen discussed with sample libraries before. Why do you reduce the width? Is it something about making the sound more focused and positioned? What is the effect you are trying to achieve by doing this?
> 
> P.S. _Get Your Love Through The Radio_ is pure brilliance and persuaded me to pick up a Juno VST which opened me to all kinds of fun. It's still my favourite track of yours. I love all the gear inspired tracks you do too.



Hey,

I narrow the stereo image sometimes for "vintage sounding" reasons but other times to help smudge things together. When things are really wide, they can sometimes be a bit exposed and give the game away. The job of a programmer is to partially be an illusionist and trick the listener into thinking they're hearing something that they're not.

Saturation, reverbs and stereo image help the illusion. Like a blur tool in Photoshop or a smushy filter on a photograph.

Get your love through the radio - thanks. Did you hear the proper version I did on my album? Or the original YouTube demo? I'd be interested to try the Juno plugin against the hardware actually.

I've got some more synth videos coming up and I think I'll do an accompanying walkthrough / tutorial this time. Will be featuring Sequential Circuits Pro-One and Oberheim DX.


----------



## muziksculp (May 26, 2018)

Hi @alexballmusic ,

I noticed you have Orchestral Tools Berlin Strings EXP E - SFX Library for string effects, would you recommend it ? and how easy do you find it to use/integrate this library into your compositions when you need some of the String FX articulations it offers.

_** Oh.. @alexballmusic , I just saw your reply post on my topic asking about this library. Thanks for the feedback. _


Thanks,
Muziksculp


----------



## alexballmusic (May 26, 2018)

muziksculp said:


> Hi @alexballmusic ,
> 
> I noticed you have Orchestral Tools Berlin Strings EXP E - SFX Library for string effects, would you recommend it ? and how easy do you find it to use/integrate this library into your compositions when you need some of the String FX articulations it offers.
> 
> ...



Ah cool. Yes, what I said on the other post.

If you've got the cash though, I'd say Metropolis Ark 3 is another level of usefulness. But EXP E is great.


----------



## muziksculp (May 26, 2018)

@alexballmusic ,

One more question, this one is regarding Woodwind Runs,

Do you tend to make them, using short articulation patches, by entering them via step editing/draw them in, or do you find specialized woodwind FX libraries with pre-made runs better/easier to use ?

Thanks,
Muziksculp


----------



## alexballmusic (May 26, 2018)

muziksculp said:


> @alexballmusic ,
> 
> One more question, this one is regarding Woodwind Runs,
> 
> ...



Depends what they are. The only runs patches I have at the moment are in Albion. If it's one of those, I'll use it. If it's a different length or scale to those available in Albion (often is) then I'll draw it in and programme the details.

Might get Hollywoodwinds or a dedicated run library at some point.


----------



## muziksculp (May 26, 2018)

alexballmusic said:


> Depends what they are. The only runs patches I have at the moment are in Albion. If it's one of those, I'll use it. If it's a different length or scale to those available in Albion (often is) then I'll draw it in and programme the details.
> 
> Might get Hollywoodwinds or a dedicated run library at some point.



Thanks for the feedback.


----------



## ZOZZ (May 27, 2018)

alexballmusic said:


> Haha, nicely put. Hope you enjoy.


Just finished. Bloody brilliant, mate. Thanks for that. Never thought of volunteering for an orchestra for the privilege of sitting in different chairs. Great idea. Cheers!


----------



## CoffeeLover (May 27, 2018)

procreative said:


> You know what would be a paid-for course I would jump on? Imagine taking a piece of music, making available a kit of components for example score, audio clip and a complete video walkthrough on how to transpose this into a midi mockup complete with cc manipulation etc.
> 
> Basically a paint by numbers jigsaw puzzle to end up with a mockup.
> 
> ...



Correct me if i am wrong
but dont these online training sites like 
cinematiccomposing.com,
thinkspaceeducation.com,
evenant.com and probably others out there
provide such teaching? 

i havent looked much into these lately exept cinematicomposing for quick cubase lesson of setting up template for 99 bucks 
when i went into cubase last december.

ive been thinking of getting more training in mockup and mixing from these sites and if anybody here has experience from online training then please id very much like to hear your experience.


----------



## rottoy (May 27, 2018)

alexballmusic said:


> Hi all
> 
> I've made an hour long guide to using VIs to create realistic orchestral mock ups and recordings. Hope it's helpful.



You're a total babe with these, man! Constantly in awe of your resourcefulness.


----------



## procreative (May 27, 2018)

CoffeeLover said:


> Correct me if i am wrong
> but dont these online training sites like
> cinematiccomposing.com,
> thinkspaceeducation.com,
> ...



Not sure about the first site, but not the other two in this kind of depth. Yes they show how to put tracks together, but Thinkspace is more about the theory and musical language than the technical depth, while Evenant's stuff while good does not have project files or full tutorial, again mostly about overall theory.

I am talking about a sample project where you essentially copy the project like a recipe for a dish. The process of doing it will teach you the basic skills and show you hands on how to recreate the piece.

Obviously it would have to be a short piece and some assumptions would be made about using fairly standard instruments/articulations available in most orchestral libraries.

I have seen plenty of "Construction Kits/DAW Projects" for sale but they are completed files, and seem to rarely exploit CC manipulation. Plus thats the finished track not a tutorial.


----------



## Ihnoc (May 28, 2018)

alexballmusic said:


> Hey,
> Get your love through the radio - thanks. Did you hear the proper version I did on my album? Or the original YouTube demo? I'd be interested to try the Juno plugin against the hardware actually.
> 
> I've got some more synth videos coming up and I think I'll do an accompanying walkthrough / tutorial this time. Will be featuring Sequential Circuits Pro-One and Oberheim DX.



Thanks for your feedback and thanks again for the orchestral walkthrough. I will start experimenting with some of the thought process you've suggested.

I've got Filibuster on my purchase list this week - the demo reel was pretty enticing with the selection of genres. Been holding off because I'm a FLAC junkie but arguably 320kbps MP3 has no difference to my ears.

If interested, I picked up the TAL-U-NO-LX, since it seemed a closer sound match to the original Juno 60 than u-he Diva (although Diva had a lot of combination options). Quite affordable too.

Looking forward to that DX demo. Props to you on your portfolio of work, by the way.


----------



## Michelob (Jun 5, 2018)

It's huge, thanks for sharing. Wonderful work and passion.


----------



## nathantboler (Jun 5, 2018)

Awesome, subbed!


----------



## Brian Nowak (Jun 5, 2018)

Yep. This was a great video. I gladly subscribed to your channel and shared the video on a Facebook group called Film Scoring Practice. It made a lot of people excited!


----------



## Dominic Stein (Jun 5, 2018)

Amazing guide. Thank you Alex!


----------



## alexballmusic (Jun 6, 2018)

Thanks for the comments. Really glad that it's useful for you.


----------

