Haha, brilliant, need to get that plugin!!
Nice work, Josh! Well deserved! Congrats
Awesome post, Gareth! Thank you very much for this. Everybody trying to produce orchestral stuff should pin this next to their monitor
The fact is: producing a good orchestral trailer with convincing strings is A LOT of work. I did some arrangements for strings in the past, some have even been played by real performers/instruments, so I knew at least a little bit when I sat down and did a small orchestral piece for AJ two years ago. (It’s not in my portfolio anymore, decided to delete it last year from here)
I didnt have any expensive string library by then (still dont own one), I didnt even have Miroslav Philharmonik by then, so I had to do everything with the built in sounds of my DAW (Presonus Studio One) and a few soundfonts I think.
Like Gareth said: Hiding the attack of mediocre samples is a must in this case.
I chose to use a piano for that for example.
But the main work went into automating the volume. Making the strings breathe and follow the ‘ductus’ , follow the imaginary conductor. I spend two days ONLY with the automation of the volume(s).
Nothing puts me more off than listening to an ‘Epic Orchestral Trailer’ that uses high quality samples that are off the pulse and ‘ductus’ of the intended phrase, melody line or whole passage, sometimes even the whole piece. In no other genre would pieces get accepted with this happening. Imagine a guitar player doing the same, it would just sounds like a total amateur and the track would get rejected. There are countless examples here of bad orchestral trailers on AJ, so many that I stopped listening to this genre completely, except for a few authors of whom I know that they take the time to get it right.I hope with Gareth in charge now, AJ will be more strict about it.
Gareth tips are solid gold and by following these rules you can get a great sounding convincing orchestra out of even not so ‘expensive’ libraries.
If you cant afford one of these reverbs Gareth mentioned yet, you can start with some good free convolution responses for Reverberate LE or get Halls Of Fame Free.
It is also a good idea to get a feeling what works with the samples you have and what doesnt. I find that if you work with sample libraries it is a good idea to first write for the samples and their expression possibilities. Because if it doesnt work, asking a decent violinist or cellist to double a line doesnt take long and usually there are many music students that are happy to play a few lines for you for a reasonable price.
Beyerdynamic DT 770 PRO
Went into a big musicstore with a few of my recordings and tested everything around the 200,- price range. DT 770 for my taste was by far the best sounding and by far the most comfortable to wear. Really love those headphones and use them not only for mixing/mastering but also for listening to vinyl over my vintage Grundig MXV100. It’s sound heaven
Edit: Have to admit that the bass is overemphasized. It sounds great, but for modern recordings I almost always have to move the bass knob a little to the left. For listening to older vinyl it’s just perfect.
Congrats, Benji!! All the best for the future
and a metronome
sales are ok and slightly better than average so far with my non exclusive Basspartout account, but sales of my new exclusive GreenAudio account have indeed completely stopped since two weeks now. Got two new tracks in the pipe, will see if this will affect my sales there… hopefully.
Cheers and good luck
Looks great, thank you for the explanation. I will also give this a try, but ONLY after I know that this will still be possible after the visual refresh that’s in progress. Otherwise it could be a LOT of work in vain. So it might be really nice to get somebody from the dev team to look at it and give a thumbs up