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Do orchestrators & copyists prefer Expression Maps/Articulation Sets vs. individual tracks for each articulation?

A

aniruddh_immaneni

New Member
I'm setting up a scoring template with VEPro and I use the cinematic studio series libraries. The way I would like to work, and I've tested this, is to split my expression maps into longs & shorts.
For instance, the long flutes 2 patch would contain legato, long, flutter, trills etc and the shorts would contain spic, Stac, Marc etc. This is also helpful when I want to accent my legato lines.
I've read/heard that orchestrators still prefer to see individual articulations on each track. I am open to working with either expression maps or individual tracks but to make my template future proof, I'm curious what the general consensus is!
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Probably a hybrid solution. You can always choose to run separate tracks for certain things. Some like to run an instrument track for all articulations except legato, then run a separate one for that. I'm new to maps as well and building my template, and I'm going to start out with one instrument track so I can play in the parts, then go back and tweak articulations, and see how that goes. I say pick a starting point like that, and as you compose and use the setup in real time, it'll become apparent what needs to change. At least that's the approach I'm starting with!
 
aniruddh_immaneni said:
I'm setting up a scoring template with VEPro and I use the cinematic studio series libraries. The way I would like to work, and I've tested this, is to split my expression maps into longs & shorts.
For instance, the long flutes 2 patch would contain legato, long, flutter, trills etc and the shorts would contain spic, Stac, Marc etc. This is also helpful when I want to accent my legato lines.
I've read/heard that orchestrators still prefer to see individual articulations on each track. I am open to working with either expression maps or individual tracks but to make my template future proof, I'm curious what the general consensus is!
Click to expand...
I would strongly urge you to learn how to orchestrate your own work. It will take some time however the orchestrator can and will take some creative liberties with your score to ensure it’s playable. Imo it’s best to do your own orchestration which allows you to rewrite areas that don’t work. It also ensures your writing is more realistic - ie giving time for the flutes to pick up the dreaded piccolo. Our ears are used to the physical limitations and common layering technics. If you follow these standards, your music will undoubtably sound more realistic in the mock up and you’ll spend far less time answering questions with the musicians when recording. That said, talk to your orchestrator and find their preference and try and work with them all the time. It’s a creative process,
So you’ll want to gel and work well together.
 
You should set up your template for the workflow that works best for you, whether that be expression maps, separate tracks, or a combination of both. As an orchestrator I am used to working with all of the above. Some clients send midi files with a separate track for each articulation. Some clients use keyswitches and leave them in the midi so I can reference which articulations they are using. Other clients use expression maps and send me their Cubase session so I can open it up and reference the expression map data (since it doesn't export with midi). As long as you give your orchestrator a heads up so they know what to look out for then there should be no complaints!
 
It's important to deliver audio stems of the sections. From there an orchestrator is able to figure out the needed articulations. Most orchestrators are working from ear anyway. MIDI is just for speed or prove reading.
 
They can deal with anything, really, as long as you pick one way of working and stick to it.

Naturally it's wise to ask the orchestrator about any specific preferences the orchestrator might have. @Saxer is certainly right that it helps them if you have dry stems of each section and any super elaborate solo parts also broken out in audio.

I proofread the scores before printing parts, and scribble notes on them using an iPad and an Apple Pencil. Even the most conscientious orchestrators may misinterpret what you wanted.
 
JohnG said:
They can deal with anything, really, as long as you pick one way of working and stick to it.

Naturally it's wise to ask the orchestrator about any specific preferences the orchestrator might have. @Saxer is certainly right that it helps them if you have dry stems of each section and any super elaborate solo parts also broken out in audio.

I proofread the scores before printing parts, and scribble notes on them using an iPad and an Apple Pencil. Even the most conscientious orchestrators may misinterpret what you wanted.
Click to expand...
Absolutely +1
 
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