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1. #ACTION STRINGS PLAYS ONLY ONE NOTE HOW TO#
2. #ACTION STRINGS PLAYS ONLY ONE NOTE PATCH#
3. #ACTION STRINGS PLAYS ONLY ONE NOTE TV#
4. #ACTION STRINGS PLAYS ONLY ONE NOTE CRACK#

#ACTION STRINGS PLAYS ONLY ONE NOTE PATCH#

And like on my chamber tutorial, the majority of what I use are ensembles patches - which are baked presets using all instruments in a patch that you can play with both hands - with single sections to add detail, focus and definition. I’m using Spitfire Symphonic Strings, which is also known as Mural. Remember, keep these moving no matter what otherwise it will sound like you’re conducting an orchestra of cadavers. So here goes, a new piece sequenced as explained in my last film, using a keyboard controller, logic as my DAW and a fader controller with expression, modulations, volume, and vibrato assigned to channels 1 through 4 respectively.

#ACTION STRINGS PLAYS ONLY ONE NOTE CRACK#

I threatened some technical stuff, but think it wise to crack on for a bit. I wouldn’t do this with Symphonics unless you’re going for a synth type sound. So… as a vast generalisation, these kind of finger shapes work excellently for big bands and not so good for small.

This means you can really spread the strings across the range, from deep down in the basses to in the gods with the violins. The numbers are so big with a Symphony band that each section has a silky richness to itself. The other thing to remember with Symphonics is that each section doesn’t rely on the next to produce harmonic support and sonic richness. But what I would do with programming is add welly and weight to each voice so you get that enormous sound, but try and keep it to five voices so you don’t create a thick condensed floury gravy.

You can split the sections up in a symphony orchestra so each section plays more than one note. Go beyond 5 voices and the whole thing can start to sound like an awful string patch on a synth. This is especially true of Symphonic samples. Returning back to my chamber strings tutorial, it is always good to remember that you have five voices to play with. All these are vast generalisations, but may help you when you’re picking which sized sample library you’re going to work with. A symphony band can be cumbersome in conversation but awesome as an accompanist. But doesn’t sound as awesome as a symphony band when it comes to choral. A chamber band is most versatile and will perform all functions. It is very often conversational and occasionally choral. A quartet rarely underscores and accompanies, as it’s the only band in the room. In many ways these are easier to program than chambers, so I’m going to hold our concentration by complicating matters in this episode with some technical tips, which we’ll get to in a minute.ĭifferent string sizes tend to focus on these different classes of orchestration. So in this tutorial we’re going to look at Symphonic strings. That is, before you hype the bejesus out of it.

#ACTION STRINGS PLAYS ONLY ONE NOTE HOW TO#

Immersion in great music will help the us non-trained individuals how to instinctualise good writing & arranging as opposed to studying it. The other thing I’d recommend if you want to program realistic string parts, is listen to good string music. This will restrict your options in a way that channels you toward reality. We suggest these rules not because they can’t be broken, it’s just when you’re trying to create realistic mockups of real instruments the first and easiest rule is to empathise with what they can do. We discussed that any string band is essentially five voices, and that violins can play high or low, but must always play above the violas, cellos and basses. Where strings are concerned I would say anything between a couple of players, to around 25 strings players would qualify as Chamber. Last time we looked at chamber strings which we established is not in fact a form of music for sex pests, but merely refers to an orchestral band that is smaller than a symphony orchestra.

So here’s the second part of my tutorial on how to program realistic strings. I can’t really read music, I don’t know much theory and I didn’t study this at college. I’ve done a bunch of orchestral scores but there’s just one catch.

#ACTION STRINGS PLAYS ONLY ONE NOTE TV#

Hello my name is Christian Henson and aside from my work with Spitfire Audio I also moonlight as a film, TV and Games composer.