{"id":207415,"date":"2019-11-14T18:52:54","date_gmt":"2019-11-14T18:52:54","guid":{"rendered":"https:\/\/compozly.com\/blog\/?p=207415"},"modified":"2023-02-24T19:59:13","modified_gmt":"2023-02-24T19:59:13","slug":"composing-orchestral-music-in-the-box-part-i","status":"publish","type":"post","link":"https:\/\/compozly.com\/blog\/composing-orchestral-music-in-the-box-part-i\/","title":{"rendered":"Composing Orchestral Music In The Box: Part I"},"content":{"rendered":"

[et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

In part I of this \u201cCreating Orchestral Music In The Box<\/em>\u201d series, we’ll outline best practices for to composing<\/span>\u00a0a song completely within one software program, such as Pro Tools<\/a> or Logic Pro<\/a>.\u00a0Mixing\u00a0“outside the\u00a0box”\u00a0means\u00a0you are using physical hardware such as a\u00a0mixing\u00a0desk or any number of other devices such as compressors, pre amps or reverb units. Every film composer has the dream of hearing their compositions played by a real live orchestra, and while achieving the exact same sonic effect as 90 people playing together in an acoustically sound room, there\u2019s something fulfilling about creating orchestral music completely in the virtual world. This is not only useful in making the music sound as close to the finished product as possible, but also for directors who want to hear a well-made mockup of the music before hiring the orchestra and setting up the recording sessions. <\/span><\/p>\n

Many productions are created using 100% virtual instruments to save money in the budget, and many composers have to learn how to make their virtual orchestra sound as real as possible as early in the process as possible. Ironically, the better and more successful of a composer you are, the less your \u201cmockup\u201d matters in terms of first listens, since filmmakers know what you’re capable of. However it’s also implied that your mockup will sound great because of your status as a high-tier composer, so it’s a catch-22 in that regard. If this is your first time working with a director or studio, then you’ll need to make the production as incredible as possible so filmmakers\u00a0get the best first impression of you and your music. The following three steps are paramount to ensuring your mockup is high quality.<\/span><\/p>\n

Step 1: Select Your Sample Libraries<\/b><\/span><\/h2>\n

Orchestral instrument libraries are becoming increasingly realistic and less expensive. There are many libraries available that offer the entire orchestra at your fingertips, with multiple articulations and settings to really give you full control of each instrument. The best value for beginners is to find a library that includes the entire orchestra, with less options for articulations, and then as your budget increases, start slowly purchasing individual sections such as brass, strings, winds, etc. and within each of those you will be able to give more expression and articulations.<\/span> <\/span><\/p>\n

There are a huge number of companies that offer amazing sample libraries.<\/strong><\/span><\/a>\u00a0Action Strings<\/a> by Native Instruments\u00a0is just one example of the many sample packs you can download when orchestrating in the box.<\/span><\/p>\n

\"Action<\/a>

Action Strings by Native Instruments<\/p><\/div>\n

The best way to figure out which ones work best for you is to organize by cost and value and then begin looking for reviews on YouTube. This will allow you to not only see the interface, but hear the instruments themselves and their articulations. Also be sure to check the quality of the samples themselves before purchasing. Some libraries will lower the cost in exchange for lower fidelity recordings of the instruments. This is especially true with 16 bit versus 24 bit, as these 8 bits will save you lots of money but also costs you 8 bits of quality. In this case, it\u2019s a better idea to spend a little more and get the best sample rate & quality available. Wouldn’t you rather save up a little money and buy the better version? Or rush to get something that you probably won’t use in the future because of the quality, but you still spent money on?<\/span><\/p>\n

Step 2: Automation<\/b><\/span><\/h2>\n

One of the laziest and most common mistakes in creating realistic sounding orchestral music is to not automate the volume and expression of your instruments. Automation can be thought of as adding that human touch to what is basically a digital unchanged virtual instrument. For example, when a violinist plays a sustained note or chord, the musician usually doesn\u2019t hold the same volume from start to finish. <\/span><\/p>\n\n

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There is some level of natural volume variation where the volume starts lower, raises a bit, then lowers again. This is why many amateur (in-the-box) orchestral music lacks dynamics compared\u00a0to real orchestral music that has an incredible amount of dynamics across all instruments. Most people aren’t aware that orchestral music actually has a lot of dynamics compared\u00a0to pop music, which has a very low amount of dynamics. Of course this isn’t always the case between\u00a0music styles, but it’s important to consider dynamic levels when automating\u00a0your orchestral score. <\/span><\/p>\n

When real orchestral musicians\u00a0play, they innately create these dynamics naturally without any thought, When a sample of that same instrument plays in the virtual sense, it doesn\u2019t include this ebb and flow created by the human, as samples are played purposefully straight for the most part. More advanced sample libraries you purchase over time will include articulations that most default orchestral libraries don’t come with. This is why automation is beyond important when composers work in a DAW. You can usually get away with minor automation when on a deadline, but if time permits, it\u2019s important that everything is automated with as much detail as possible in the final score. In other words, the more automation, the more realistic.<\/span><\/p>\n

Step 3: Bussing, Reverb and Compression<\/b><\/span><\/h2>\n

Now to dive into the more technical aspect of orchestral realism, ensuring that you create a bus for your reverb(s) gives you the best, cleanest, and most consistent quality of reverb. Speaking of reverb, have you ever heard a full orchestral piece that\u2019s dry and without any reverb? It\u2019s a bit jarring and in no way evokes the same beauty and emotion of the full orchestra in a hall. You can have the best samples out there with great automation precision but if the signal is dry and there\u2019s no reverb, the entire song or piece will sound incredibly off. There are times that a dry instrument is necessary, maybe if a solo instrument represents a character or the lack of reverb is used in a creative or story-driven way. For the most part though, if you\u2019re trying to achieve the effect of recording real instruments, giving it even the smallest amount of reverb will make a huge difference.<\/span><\/p>\n

Compression<\/strong> is also a technique that should be used for “taming” a group of instruments. What is “Compression” you ask?Music\u00a0compression\u00a0is essentially the process of reducing an audio signal’s dynamic range. Dynamic range is the difference between the loudest and quietest parts of an\u00a0audio\u00a0signal. You need to reduce the dynamic range of most\u00a0audio\u00a0signals for them to sound natural on a recording. <\/span><\/p>\n

\"Compressor

Compressor Plugin<\/p><\/div>\n

Pro tip: It\u2019s always better to create your entire song without any compression, and then compress individual tracks that really need it. When it comes to the creation of orchestral music, the less compression the better, but there\u2019s usually at least a couple tracks that require this. It’s usually best to compress solo instruments – which goes back to that concept of dynamics, where if this is a production you’re trying to achieve a realistic orchestral hall sound, don’t compress much if at all. If you’re trying to create an actual song like something on the radio or Spotify, you may want to compress the overall mix and more elements. <\/span>Think of it this way, pop music has LOW dynamics and HIGH compression, while orchestral music has HIGH dynamics and LOW compression.<\/span><\/p>\n

This concludes Part I of the \u201cCreating Orchestral Music In The Box<\/em>\u201d series. In part 2<\/a>, we’ll show you before and after examples of automation, reverbs, the best way to bus your reverbs and more technical advice on how to create music that sounds like a live orchestra.<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=”4.16″ custom_margin=”||||true” custom_padding=”20px|350px|20px|350px|true|true” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”3_5,2_5″ admin_label=”SECTION – Email Optin – eBook Signup – The Essential Guide to Film Music Collaboration” _builder_version=”4.14.5″ _module_preset=”default” global_module=”208326″ saved_tabs=”all” global_colors_info=”{}”][et_pb_column type=”3_5″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/compozly.com\/blog\/wp-content\/uploads\/2018\/05\/ebook-thumbnail_2022.png” alt=”Compozly eBook” title_text=”Compozly eBook” admin_label=”eBook Thumbnail” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”2_5″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_signup mailchimp_list=”Compozly MailChimp|e8500b7298″ use_custom_fields=”on” success_message=”Success! We just emailed you a copy of the eBook. You should see it in your inbox within a few minutes.” button_text=”Download” description=”<\/p>\n

Get your FREE copy of %22The Essential Guide to Film Music Collaboration%22 <\/strong>to help create better music for your film and video projects.<\/p>\n

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About the Author<\/h3>\n

[\/et_pb_text][et_pb_divider _builder_version=”4.16″ custom_margin=”||||true” custom_padding=”|350px||350px|true|true” global_colors_info=”{}”][\/et_pb_divider][et_pb_team_member name=”Adam Robert Galloway” position=”Film Composer” image_url=”https:\/\/compozly.com\/blog\/wp-content\/uploads\/2019\/03\/adam-robert-galloway_200x200.jpg” admin_label=”About the Author – Adam Robert Galloway ” _builder_version=”4.16″ border_radii_image=”on|50px|50px|50px|50px” box_shadow_style_image=”preset1″ box_shadow_spread_image=”-17px” global_colors_info=”{}”]<\/p>\n

Adam is a content creator for Compozly and a fellow music composer. He has been scoring films since 2012 and releasing original & cover songs as Muzikm4n since 2017. Despite no formal training in composition, Adam has spent many years learning how to produce and compose music that provides filmmakers with effective and unique scores.<\/p>\n

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CONNECT WITH US ><\/span><\/a><\/p>\n

\u00a0\u00a9 2021 Compozly, LLC ALL RIGHTS RESERVED<\/span><\/p>\n

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About<\/strong><\/span><\/a><\/h1>\n

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Login<\/span><\/a><\/p>\n

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[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

In part I of this \u201cCreating Orchestral Music In The Box\u201d series, we’ll outline best practices for to composing\u00a0a song completely within one software program, such as Pro Tools or Logic Pro.\u00a0Mixing\u00a0“outside the\u00a0box”\u00a0means\u00a0you are using physical hardware such as a\u00a0mixing\u00a0desk or any number of other devices such as compressors, pre amps or reverb units. Every […]<\/p>\n","protected":false},"author":8,"featured_media":207480,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

Every film composer has the dream of hearing their compositions played by a real live orchestra, and while achieving the exact same sonic effect as 90 people playing together in an acoustically sound room, there\u2019s something fulfilling about creating orchestral music completely in the virtual world. This is not only useful in making the music sound as close to the finished product as possible, but also for directors who want to hear a well-made mockup of the music before hiring the orchestra and setting up the recording sessions. Many productions are created using 100% virtual instruments to save money in the budget, and many composers have to learn how to make their virtual orchestra sound as real as possible as early in the process as possible. Ironically, the better and more successful of a composer you are, the less your \u201cmockup\u201d matters in terms of first listens, as they know what you're capable of. However it's also implied that your mockup will sound great because of your status as a high-tier composer, so it's a catch 22 in that regard. If it\u2019s the first time working with a director or studio, you need to make the production as incredible as possible so they are getting the best first impression of you and your music. The following three steps are paramount to ensuring your mockup is high quality.<\/span><\/p>

STEP 1: Selecting your sample library or libraries<\/b><\/span><\/p>

Orchestral instrument libraries are becoming increasingly realistic and less expensive. There are many libraries available that offer the entire orchestra at your fingertips, with multiple articulations and settings to really give you full control of each instrument. The best value for beginners is to find a library that includes the entire orchestra, with less options for articulations, and then as your budget increases, start slowly purchasing individual sections such as brass, strings, winds, etc. and within each of those you will be able to give more expression and articulations.<\/span> There are a huge number of companies that offer amazing sample libraries<\/strong><\/em>.\u00a0<\/span><\/a>The best way to figure out which ones work best for you, organize by cost and value, then begin looking for reviews on YouTube, which will allow you to not only see the interface, but hear the instruments themselves and their articulations. Also be sure to check the quality of the samples themselves before purchasing. Some libraries will lower the cost in exchange for lower fidelity recordings of the instruments. This is especially true with 16 bit versus 24 bit, as these 8 bits will save you lots of money but also costs you 8 bits of quality. In this case, it\u2019s a better idea to spend a little more and get the best sample rate & quality available. Wouldn't you rather save up a little money and buy the better version or rush to get something that you probably won't use in the future because of the quality, but you still spent money on?<\/span><\/span><\/p>

STEP 2: Automation<\/b><\/span><\/p>

One of the laziest and most common mistakes in creating realistic sounding orchestral music is to not automate the volume and expression of your instruments. When a violin plays a sustained note or chord, it doesn\u2019t just hold the same volume from start to finish, it usually has a bit of a curve signifying the volume starts lower, raises a bit, then lowers again after it reaches it\u2019s loudest point, and this continues to repeat but with a bit of variation. This is why many amateur (in-the-box) orchestral music lacks dynamics, and real orchestral music has an incredible amount of dynamics. For those who don't know, something like orchestral music has a lot of dynamics, while pop music has very low amount of dynamics. These aren't hard and fast rules, as someone like Lindsey Sterling who's a mix of pop and cinematic will have more dynamics than your average pop music, she needs to maintain a pop production sound with some orchestral dynamics peppered in, but not as much as a real full orchestra, since she's in the pop world with elements of cinematic music.\u00a0So always consider dynamic levels based on the sound you're looking to achieve. <\/span><\/p>

When real players play, they innately create these dynamics naturally and without thought, but when a sample of that same instrument plays in the virtual sense, it doesn\u2019t include this ebb and flow created by the human, as samples are played purposefully straight for the most part. The more advanced sample libraries you purchase over time will include articulations that most default orchestral libraries don't come with. This is why automation is beyond important when composers work in a DAW. Automation can be thought of as adding that human touch to what is basically a digital unchanged sample. You can usually get away with minor automation when on a deadline, but if time permits, it\u2019s important to the final score that everything is automated with as much detail as possible. In other words, the more automation, the more realistic.<\/span><\/p>

STEP 3: Proper bussing, reverbs, and compression<\/b><\/span><\/p>

Now to dive into the more technical aspect of orchestral realism, ensuring that you create a bus for your reverb(s) gives you the best, cleanest, and most consistent quality of reverb. Speaking of reverb, have you ever heard a full orchestral piece that\u2019s dry and without any reverb? It\u2019s a bit jarring and in no way evokes the same beauty and emotion of the full orchestra in a hall. You can have the best samples out there with great automation precision but if the signal is dry and there\u2019s no reverb, the entire song or piece will sound incredibly off. There are times that a dry instrument is necessary, maybe if a solo instrument represents a character or the lack of reverb is used in a creative or story-driven way. For the most part though, if you\u2019re trying to achieve the effect of recording real instruments, giving it even the smallest amount of reverb will a huge difference.<\/span><\/p>

Compression is something that should be used more for taming a group of instruments, and it\u2019s always better to create your entire song without any compression, and then compress individual tracks that really need it. When it comes to the creation of orchestral music, the less compression the better, but there\u2019s usually at least a couple tracks that require this. Compress solo instruments and this also goes back to that concept of dynamics, where if this is a production you're trying to achieve a realistic orchestral hall sound, don't compress much if at all. If you're trying to create an actual song like something on the radio or Spotify, you may want to compress the overall mix and more elements. <\/span><\/p>

Think of it this way, pop music has LOW dynamics and HIGH compression, while orchestral music has HIGH dynamics and LOW compression.<\/em><\/span><\/p>

This concludes Part I of the \u201cCreating Orchestral Music In The Box\u201d series. In part I, we will be showing you before and after examples of automation, reverbs, the best way to bus your reverbs, and other more technical advice on making your music in the box sound more \"out of the box\".<\/span><\/p>","_et_gb_content_width":"","footnotes":""},"categories":[10,7,8,12,1],"tags":[43,23,44],"class_list":["post-207415","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-composing","category-logic-pro","category-midi","category-mixing","category-music-production","tag-logic-pro","tag-midi","tag-orchestration"],"yoast_head":"\nComposing Orchestral Music In The Box: Part I - Compozly<\/title>\n<meta name=\"description\" content=\"In part I of this \u201cComposing Orchestral Music In The Box\u201d series, we'll outline best practices for composing\u00a0a song completely within one software program, such as Pro Tools or Logic Pro.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/compozly.com\/blog\/composing-orchestral-music-in-the-box-part-i\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Composing Orchestral Music In The Box: Part I - Compozly\" \/>\n<meta property=\"og:description\" content=\"In part I of this \u201cComposing Orchestral Music In The Box\u201d series, we'll outline best practices for composing\u00a0a song completely within one software program, such as Pro Tools or Logic Pro.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/compozly.com\/blog\/composing-orchestral-music-in-the-box-part-i\/\" \/>\n<meta property=\"og:site_name\" content=\"Compozly\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/compozly\/\" \/>\n<meta property=\"article:published_time\" content=\"2019-11-14T18:52:54+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-02-24T19:59:13+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2019\/11\/Compozly-How-to-Orchestrate-in-the-Box.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"900\" \/>\n\t<meta property=\"og:image:height\" content=\"600\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Adam Galloway\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@compozly\" \/>\n<meta name=\"twitter:site\" content=\"@compozly\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Adam Galloway\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/compozly.com\/blog\/composing-orchestral-music-in-the-box-part-i\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/compozly.com\/blog\/composing-orchestral-music-in-the-box-part-i\/\"},\"author\":{\"name\":\"Adam Galloway\",\"@id\":\"https:\/\/compozly.com\/blog\/#\/schema\/person\/9a87cf983cbae8536f6346d8ace77cb0\"},\"headline\":\"Composing Orchestral Music In The Box: Part I\",\"datePublished\":\"2019-11-14T18:52:54+00:00\",\"dateModified\":\"2023-02-24T19:59:13+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/compozly.com\/blog\/composing-orchestral-music-in-the-box-part-i\/\"},\"wordCount\":2144,\"publisher\":{\"@id\":\"https:\/\/compozly.com\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/compozly.com\/blog\/composing-orchestral-music-in-the-box-part-i\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2019\/11\/Compozly-How-to-Orchestrate-in-the-Box.jpg\",\"keywords\":[\"Logic Pro\",\"MIDI\",\"Orchestration\"],\"articleSection\":[\"Film Composing\",\"Logic Pro\",\"MIDI\",\"Mixing\",\"Music Production\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/compozly.com\/blog\/composing-orchestral-music-in-the-box-part-i\/\",\"url\":\"https:\/\/compozly.com\/blog\/composing-orchestral-music-in-the-box-part-i\/\",\"name\":\"Composing Orchestral Music In The Box: Part I - 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