These audio examples illustrate sonically some of the software features discussed in my 'Orchestration Assistants' article in SOS March 2022 editions.
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Orchestration Assistants Audio Example 01.mp3
This example features UJAM Striiiings.
The audio example demonstrates Striiiings in action across three different chord progressions/styles. In addition, each chord progression is heard three times as follows: (i) the chord progression with a simple sustained string performance; ii) the same chord progression but with a string arrangement that has more melodic/rhythmic character created using one of Striiiings’ preset performance styles; (iii) with the sustained and melodic instances layered for a fuller sound. This combination of sustained chords and melodic/rhythmic parts could be achieved with a real orchestra by dividing the string sub-sections into two (divisi; although each element would have a less impactful sound as it would only feature half of the players within any sub-section). In a recorded context (for example, for film/TV scores), you could replicate the doubling by overdubbing or by blending a real orchestra with some sample-based sounds. Either way, layering multiple instances of Striiiings, while perhaps not true to the real thing, produces an impressively lush ‘film score ready’ sound. Aside from a very gentle master bus compressor applied on mixdown, no other processing has been applied over and above that provided by the virtual instrument itself.
Orchestration Assistants Audio Example 02.mp3
This example features Native Instruments Action Strings 2.
It follows the format from the first audio example and demonstrates Action Strings 2 in use across the same three different chord progressions using styles from within the supplied Action Strings 2 presets. Again, each chord progression is heard three times as follows: (i) the chord progression with a simple sustained string performance using Acton Strings 2’s Sustained articulation; (ii) the same chord progression but with a string arrangement that has more melodic/rhythmic character created using one of AS2’s preset performance styles; (iii) with the sustained and melodic instances layered for a fuller sound. The same comments made for audio example 1 regarding layering multiple instances apply here. By default, AS2 perhaps sounds somewhat more ‘intimate’ than Striiiings, but both offer suitable control over the ambience that can be applied. While AS2 perhaps requires a little more work on behalf of the user than Striiiings, with the ability to edit patterns and to generate MIDI output, it does offer additional performance flexibility. Aside from a very gentle master bus compressor applied on mixdown, no other processing has been applied over and above that provided by the virtual instrument itself.
Orchestration Assistants Audio Example 03.mp3
This example features KHS Kinetic Strings.
It follows the format from the first two audio example and demonstrates Kinetic Strings in use across the same three different chord progressions using styles from within the supplied presets. However, as Kinetic Strings does not contain any sustained string sounds, each chord progression is only heard twice as follows: (i) the chord progression with a string arrangement that has melodic/rhythmic character created using one of Kinetic Strings preset performance styles; (ii) with the same melodic instances layered with the sustained strings created using Striiiings for a fuller sound (and to provide a comparison with the earlier examples). The same comments made for audio example 1 regarding layering multiple instances apply here. Aside from a very gentle master bus compressor applied on mixdown, no other processing has been applied over and above that provided by the virtual instrument itself.
Orchestration Assistants Audio Example 04.mp3
This example features Toontrack Orchestral Percussion SDX for Superior Drummer 3.
Three short musical examples are included demonstrating both the sounds and MIDI groove content. They feature different tempos and a range of drum dynamics. As outlined in the text of the main article, the Orchestral Percussion SDX provide a great source for conventional orchestral drum and percussion sounds although, with appropriate additional processing, a more hybrid cinematic sound can easily be created. Aside from a very gentle master bus compressor applied on mixdown, no other processing has been applied over and above that provided by the virtual instrument itself.
Orchestration Assistants Audio Example 05.mp3
This example features UJAM SE Drums.
Again, three short musical examples are included demonstrating both the sounds and preset pattern/groove content. They feature different tempos and a range of drum dynamics. While the basis of the sound set is clearly orchestral-style drums, SE Drums also provides some excellent sound design tools for creating a more cinematic/hybrid drum sound with plenty of impact. Aside from a very gentle master bus compressor applied on mixdown, no other processing has been applied over and above that provided by the virtual instrument itself.
Orchestration Assistants Audio Example 06.mp3
The sounds span a range of orchestral and world drums and percussion elements and are mostly ‘natural’. However, the instrument does include some sound design elements and the ability to build your own drum ensembles does make it possible to create a huge sound. They feature different tempos and a range of drum dynamics. Aside from a very gentle master bus compressor applied on mixdown, no other processing has been applied over and above that provided by the virtual instrument itself.
Orchestration Assistants Audio Example 07.mp3
This example features Auddict PercX.
Again, three short musical examples are included demonstrating both the sounds and MIDI groove content. They feature different tempos and a range of drum dynamics. The sound sources include both conventional drum and percussion elements but also some more cinematic sounds. The effects options allow plenty of scope for further sound design while the performance tools make it easy to build a full drum part veery quickly. Aside from a very gentle master bus compressor applied on mixdown, no other processing has been applied over and above that provided by the virtual instrument itself.
Orchestration Assistants Audio Example 08.mp3
This example features Best Service The Orchestra Complete.
Three short clips are provided, each based upon a simple chord progression used to trigger a global preset supplied with the software. Each clip combines two or three individual instances on The Orchestra to provide performance variety (for example, sustained notes and staccato notes). Each clip also makes use of the performance dynamics, although this is perhaps somewhat exaggerated for the purpose of demonstration. Three different tempos are also used. Note that the core sounds focus on conventional orchestral instruments. Aside from a very gentle master bus compressor applied on mixdown, no other processing has been applied over and above that provided by the virtual instrument itself.
Orchestration Assistants Audio Example 09.mp3
This example features Sample Logic Symphonic AI.
Four short clips are provided, each based upon a simple chord progression used to trigger a global preset supplied with the software. Each clip combines two or three individual instances on Symphonic AI to provide performance variety (for example, sustained notes and staccato notes). Each clip also makes use of the performance dynamics, although this is perhaps somewhat exaggerated for the purpose of demonstration. Different tempos are also used. Note that while the core sounds are predominantly based upon traditional orchestral instruments (and used as such in the first two clips), Symphonic AI’s sound design features allow you to modify these into a more contemporary, hybrid, sound palette (as demonstrated in the last two clips). Aside from a very gentle master bus compressor applied on mixdown, no other processing has been applied over and above that provided by the virtual instrument itself.
Orchestration Assistants Audio Example 10.mp3
This example features EastWest Hollywood Orchestra Opus Edition.
Three short clips are provided, each based upon a simple chord progression used to trigger a global preset from the Orchestrator engine supplied with the software. The first two clips each use a single instance of the Orchestrator engine while the final clip combines two instances (the second one provides the staccato notes at the end of the clip). Each clip also makes use of the performance dynamics, although this is perhaps somewhat exaggerated for the purpose of demonstration. Three different tempos are also used. Note that the core sounds focus on conventional orchestral instruments. Aside from a very gentle master bus compressor applied on mixdown, no other processing has been applied over and above that provided by the virtual instrument itself.