If your goal is to make your orchestral arrangements made with MIDI stand out, then you may not want them to sound better and real. Next, I will teach you how to make it better than real recording.
We have to use these tones when creating orchestral music, although in many cases they are also good learning materials. However, I have to say that the effects of these sound libraries can never be the same as those played by real musicians, but they can sometimes produce many effects that real musicians cannot play. If you want to know more about make orchestral arrangements,
You can search “how to make orchestral arrangements” on youtube, and use flvto youtube to mp3 to download it. Here are some points I like very much:
Table of Contents
1. Don’t do any damage
When using EQ, do not do any damage as stated in the Hippocratic Oath (Hippocratic Oath). Storyteller said: Don’t do it just because you think it should be moved. Just like recording in a studio, if the sound engineer has done his/her work well and used the correct signal connection method (for example, mic preamp, cable, microphone, A/D conversion), then there is nothing It is necessary to adjust EQ. This principle also applies to professional sound libraries. Unless for a very special purpose, such as making a special sound (such as some gorgeous percussion sounds), don’t adjust the EQ of the sounds in the sound library. Of course, the exception to this rule is the use of low-cut filters (also known as high-pass filters) to cut out some unwanted low frequencies such as floor noise. Like most people, I usually cut too much when dealing with low frequencies.
2. Use your ears
Ignore the bar lines and the grid. Everything should be based on what it sounds like, not what it looks like.
3. Pay attention to overall balance and level performance
Balance-Does the music sound like a whole? Is there any frequency response that is too large or too weak? Are all the instruments combined just to increase the volume or do they merge to create a better sound?
- 20-200 Hz: low frequency
- 200 – 1000 Hz: medium and low frequency
- 1000-5000 Hz: medium and high frequency
- 5000-20000 Hz: high frequency
Even in a piece of music with a large organization and full orchestral music, the arrangement, the progress of the harmony, and the sound of each part should be heard clearly. In other words, the motive of the melody should be heard clearly, whether it is the internal performance and external sound changes. Many feelings are not accurately described in words, but it is usually okay to say that.
4. Save the drum for the end
Until you have written a complete piece of music, start thinking about drums. The role of drums is to accompany the music. If you give all low-frequency tasks to the drums, then there is nothing left for other music, and your Bass must also have a big problem. I usually write percussion at the end, but when I write other band parts, I already know what kind of percussion I want, what kind of percussion sound I want and I want percussion to play a role in the music.
5. Simultaneous use of digital and analog tones
Try to use both digital sound and analog recording at the same time, like a synthesizer effect or similar to Indiginus’s Solid State Symphony sound library. I tried to do this in the TV series “Zorro” in the late 90s. In addition to using real strings, I used Memorymoog to play the same melody, which makes this rather small system sound full and warm.
6. Try to break the routine
If the pre-recorded material does not contain a certain tone you want, and the portamento effect you want to create just needs it, then you might as well try to play the tone yourself and spread it into the original material. In a complete work, you won’t really hear something wrong with this sound, and this portamento can just meet the effect you need.
I have tried this method in the woodwind group, string group and even harp, and the effect is not bad. The effect plug-ins used for real recording and MIDI material may be different. MIDI production is not like those using real musical instruments. If you don’t like the result, you can try various other methods. This kind of experiment will never end until you reach the effect you are satisfied with.
