About Visual Orchestration 2
Visual Orchestration 2: Articulations & Templates - From Orchestration to Setting Up the Virtual Orchestral Mix (Foundation For MIDI Mock-Ups) contains ten new video lectures, totaling 7.46 hours, distilling the core principles of a college course on basic orchestration directly applied to sample libraries and MIDI mock-up applications complete with audio demos. Whether you read or don't read music, you'll get gangbusters out of Visual Orchestration 2.
Your Intro to Effectively Mixing Your MIDI Mock-Ups
Visual Orchestration 2: Articulations & Templates™ goes through the “mechanics” (articulations) for strings, woodwinds, brass, and percussion, by defining what articulations and bowings are, performance insights, and how both apply to sample library purchasing, and evaluating existing libraries.
The second focus is learning the concepts of setting up a virtual orchestral mix within your template, e.g., getting everyone into the same room. As with Visual Orchestration 1, Visual Orchestration 2 distills the core principles of orchestrating so that the ability to read music is not required. The focus is on the things you do by ear referencing the Spectrotone Chart. as your visual guide.
All you need to take this course is our 70th Anniversary Edition Spectrotone Chart. No other text is required.
By the end of Visual Orchestration 2, whether you read music or create by ear, you’ll know the orchestral instruments, the key articulations and bowings that go into a template, dynamic equivalents applied to the virtual orchestra, plus setting up the virtual orchestral mix.
The 10 Video Lectures in Visual Orchestration 2: Articulations & Templates
Visual Orchestration 2 has ten video lectures totaling well over seven hours of instruction with selected audio demonstrations included in the course.
Lecture 1 - The Orchestra: The Real vs The Sampled (39 mins!)
Starting at the very beginning by defining what a real orchestra is by various sizes, and how big that equates to sample libraries. For application, we look at the Rule of 4s and how that applies to building your own orchestral sound.
Lecture 2 - Real Orchestral Seating, Orchestral Sample Library Seating, and Spatial Placement (Posted Now! 36 mins!)
The standard orchestral seating position is first evaluated by the Spectrotone Chart. Learn the five different ways of seating the strings plus a look at the Wall of Brass. Applied to sample libraries to learn how to evaluate tone color placement, then to create your own tone color spatial placements.
Lecture 3 - Where's p: Musical Steps to Setting Dynamic Levels In the Mix (Posted Now! 42 mins!)
Examines the Italian language for dynamics and what the terms mean, how dynamics are implemented in orchestral sample libraries, why all dynamics are relative, what the Italian terms really mean, dynamics and specific libraries, the performable p by instrument and linear register, dynamic equivalents and how they apply in MIDI mock-ups. Audio demonstrations.
Lecture 4 - The String Section (Posted Now! 59 mins!)
Bowings NOT articulations, how strings on the Strings are numbered, parts of the violin, violin tuning, easiest major and minor keys for the strings to perform in, the string bow, bowings by types, three bow positions, on the string bowings, two types of legato playing, multiple legato types in sample libraries, legatos and sustains, two pieces for legato study, detache: the missing bowing, detache types, staccato and staccato types, staccatos and repetitions, testing staccatos with Jupiter from the Planets, Off the string bowings, the need for testing legato bowings at various tempos, pizzicato, tremolos, measured tremolos, trills, spatial placement, two specialty bowings, briefly: divisi. Audio demos.
Lecture 5 - The Woodwinds (Posted Now! 30 mins!)
The vent, number of core articulations for woodwinds, woodwinds and vibrato, the need to test faster rhythms, woodwind embouchures; single, double and triple tonguing per woodwind instrument, what tonguings are available from each library?, woodwind doublings, the flute and flute articulations plus tonguing speeds, the oboe, the English horn, the clarinet and tonguing tempos, the bassoon: the great woodwind blender, woodwinds and templates.
Lecture 6 - The Brass (Posted Now! 30 mins!)
Three core articulations for creating brass templates, brass and vibrato, embouchures and tonguing, how many brass instruments in your library (solo, in 2s, unison sections?), French horns: the great blender, types of brass family combinations French horns are found in; number of French horns, dynamics, and woodwind weighting within the mix, 15 works with 6 or more French horns, sonic weight of the trumpet and the trombone, number of woodwinds needed to equal one trumpet or trombone at f, number of strings needed to equal one trumpet at f, number of strings needed to equal two French horns at f, 3 schools of trombone writing, the tubas, brass section sizes, jazz brass section sizes.
Lecture 7 - Percussion, Harp, Celeste (Posted Now! 28 mins!)
9 conventional uses of percussion in a life score or MIDI mock-up, 2 categories of percussion, common snare drum stickings (articulations), timpani, timpani sizes in the orchestra, timpani range, nine orchestral uses of timpani, the concert bass drum, vibes and vibes effects, the xylophone, glockenspiel, celeste, the harp, key harp techniques, stage positioning in the live or virtual orchestra, questions to ask developers!
Lecture 8 - Setting Up The Virtual Orchestral Mix - Part 1 (Pts 1 & 2 Posted Now! 80 mins!)
The situation: recording with that which has been previously recorded, four components, differences between concert halls and recording studios, studios where film scores and sample libraries have been recorded, RT60s of key studios, the Hollywood sound vs. the concert sound, covering reverbs, two examples of dry film orchestras before processing was applied, studios and what well known films were recorded there, more.
Lecture 9 - Setting Up the Virtual Orchestral Mix - Part 2 (Posted Now! 46 mins!)
Clearly defined music production goal, 5 mixing problems unique to orchestral sample libraries, review: the 3 strategies for getting everyone into the same room, spatial placement learning order, studio footprints, 4 key blocks of a reverb, how reverb tails can effect getting everyone into the same room, orchestral setup charts for applying early reflections and reverb tails, audio demos demonstrating key concepts, more.