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GARRITAN ORCHESTRA OPINION 2018 MOD
GARRITAN ORCHESTRA OPINION 2018 MANUAL
GARRITAN ORCHESTRA OPINION 2018 PRO

Enough legato notes played on a clarinet will seem odd because there's no time for the player to breath. There are plenty of other little details to think about. Often the solution there is to use a separate tremolo sample, so changing samples in a performance might be how you can create the articulations you want. Also it's almost impossible to perform perfect tremolo - the timing will be just ever so slightly skewed. The upbow sounds different from the downbow. So for drums, taking every odd hit (the first, third, fifth, etc.) and making it slightly louder, and then taking every even hit (second, fourth, sixth, etc.) and moving it slightly forward in time can create a more realistic sound.Ī similar thing applies to bowed string instruments. By that I mean, the two hits are not spaced perfectly evenly, usually every other hit is slightly early, and the hit that's on time is usually slightly louder. Also, when playing a repeated pattern, it's very difficult for a human to not "swing" it slightly. When humans play drums, they use both hands, and virtual no drummer has identical hands. Two examples are drums and violins (and other members of the strings section).

GARRITAN ORCHESTRA OPINION 2018 MANUAL

This is especially effective for velocity.īeyond that, a very effective but also very time consuming technique is manual editing, informed by an understanding of how the real instruments work and how they are played.

GARRITAN ORCHESTRA OPINION 2018 PRO

Some DAWs (I know Pro Tools does this) allow you to randomize the parameters of a group of selected MIDI events all at once.

GARRITAN ORCHESTRA OPINION 2018 MOD

More time to practice using them to create performances that sound how you want.Ī lot of keyboard controllers include at least two built-in performance controls: the mod wheel and aftertouch, so if you have a MIDI keyboard you might not need to spend a lot on external faders or anything like that.Īfter recording a MIDI performance, or if you've sequenced it from scratch, there are plenty of ways to add randomness and humanization.

The time to map them up in a way that makes sense to you.

Hardware CC controllers to map to the controls in the virtual instrument.

Virtual instruments that support MIDI CC messages to make performance changes.

The other faders change all kinds of things like articulation mode (e.g., change to tremolo and change the speed of the tremolo) and reverb levels, etc. So he can call up french horns, hit a chord with his right hand, and then use his left to grab a fader and perform a crescendo on the horns.

He has a control surface with several faders on it, and each fader is mapped to a different MIDI control message that changes a performance parameter on the virtual instrument. I just watched a series of videos of film composer Hans Zimmer who mocks up all his soundtracks using software and virtual instruments so the directors can hear what it's going to sound like before they record it with a real orchestra or other musicians.