The O.L.C. (One Library Challenge)
- Thread starter mybadmemory
- Start date
It is hard as hell. Especially if you want to make it sound as close as possible to real orchestra. I found my self that this is tremendously difficult. After mix Im always thinking - ok, lets listen to it tomorrow - and when tomorrow comes, I listen to it and I know where to make adjustments in mix etc. And after that I leave it for next day and then if next day sound right... I do more adjastments :D And after few following days like this I can say it sound right, Im happy with it BUT again when I coming back after few days it sound horribly wrong. Never can make it right but always learn something from each mix.
This is simple 'black magic' for me. Especially when you think that different notes of the same instruments might have sweet-spot in a different place on EQ.. that just makes me headache!! Thats demand a lot of hard work, knowledge and practice!
I usually do this, but just waiting some hours until the ears rest a bit. You always find mistakes with fresh ears
Henrik B. Jensen
Hobbyist
For me personally, I have come to the conclusion it doesn't have to be perfect and sound like a real orchestra. As long as the dynamics are reasonably close to what I'm trying to make a mockup of and the overall sound is cohesive, I'm happy.
Edit: I'm a hobbyist so it doesn't matter. It may be different to you folks if you want it to be 100% prof sounding
I do agree with you, it dont have to be. I just wanted to point out how difficult it is for me. But at the same time it is great fun!
Taron
Senior Member
Nah, when I'm saying that you can use orchestral instruments based on the idea of what frequencies are still weak I mean something staggeringly easy or even obvious like for example:
You have some beautiful highs with all the strings and great lows and even violas and celli seemingly fill the mids, but somehow the low mids have something missing.
You then know that horns saturate those lower mids perfectly and then use them.
Or the mids and upper mids could use more density then you'd go with oboe or clarinets.
Your bass is still in need of a boost so you go with the Tuba.
Sparkles in the highs are missing, so you add some glockenspiel and/or piccolo.
The idea is that you feel what parts of the spectrum should get something or even need something and then you go for the respective instruments that would want to live in these frequencies.
The next thought is in regards to transients, like whether you need harder attacks. You'd go for percussion like the timpani, or toms or any of the mallet based instruments like xylophone or marimba or the likes.
With synths you simply create the sound you want. With the orchestra you pick the instruments that fulfill that specific need.
It's important to be aware of the different possible articulations, of course, but it's particularly important to understand the nature of the instruments in regards to frequencies and possible transients.
Then it actually almost becomes easier, since it's a given set of options.
As for mastering, well, that's a whole different thing. Here, above all else, it's about what impression you wish to make, such as where does the orchestra play, is it meant to feel "real" or meant to drape around the listener in a more idealized way, depending on what situation you wish to let the listener be transported into.
And, of course, the general technical requirements for a proper listening experience, but that's really not the topic at this point. Would make a great topic, though! And I'm sure it's to be found all over the forum, hehe.
Hah, I wish it could be as easy as it sound! lol However, that some wholesome tips. Maybe obvious but thats very helpful, thanks Taron!
Taron
Senior Member
Oh, no, I did understand what you mean. And explaining things is often challenging, regardless the language. You're doing well!
Because this forum is quite full of experts as well as beginners and anyone in between, it's sometimes challenging for me to find the right tone not to offend anyone with something that would appear "simple" or "obvious" to them. But that's just my silliness. It took me long enough to get to where I am now and I still think of myself as a novice at best. That's because I am aware of the existence of music theory concepts that I'm simply not familiar with or haven't diligently absorbed into my mental toolset. Big difference between knowing of something and knowing it, you know.
I love forwarding the things I do know- or strongly believe to know- from my experience.
Thing is, we are musicians, because we see music as a way to manifest parts of our ideals, whether it's by means of expressing emotions for their own sake or the joy of discovering almost technical puzzles, like solving or even postulating riddles. Creating sensations we wish to experience ourselves or we love to give others. Whatever the reasons, it's a big privilege that we can share techniques here among us, between us, supporting each other to bring out what it is each one of us wishes to manifest to share a piece of ourselves that cannot be shared any other way.
That thought inspires me to ponder over another thread concept to explore specific "tricks" with examples we can bounce around between each other... ...fun thought!
Are there any new libraries that should get an OLC showcase, by the way?
I recently mostly just see individual sections or instruments rather than any complete sets.
Paul@Sydney
Senior Member
Whatever happened to this?Soon TM
doctoremmet
Senior Member
Life. May pick it up some day
If you write like this for laughs... I love it.
Reminds me a bit of Danny Elfman Spiderman score (that is complement).
Trash Panda
Clueless nitwit
Got a little inspired by Musical Sampling's new guitar library. 100% Nylon Rustique.
ryans
Senior Member
Haha thank you. Perhaps 'intentional camp' would be more accurate than writing for laughs. But yes, certainly not serious heh.
Spitfire Audio BBC Orchestral Pro for literally 99% of the track. Technically not one library but it could've add been pulled off without adding the Metropolis Ark 1 Horns and Tuba but I felt should be added for the extra brass punch as it sounded like it was lacking in the fff dynamics range. Cinesample's Voxos choir as there's no choir within BBC Orchestral Pro.
Star Trek 2009 Main Theme Mock Up.
Star Trek 2009 Main Theme Mock Up.
I still owe y'all a Metropolis Ark 3 track and I finally finished it:
View attachment OLC-track2-MA3_33.mp3
View attachment OLC-track2-MA3_33.mp3
I have had BHCT for about 2 years but had a really hard time writing with it. Even though I love alot of patches in it when I start to write for it it was really hard to get inspired on the bigger spectrum. But I actually got some inspirational ideas now from the Horns patch and decided to try to work my way through a full track. And behold! It is complete! OLC with only Bernard Herrman Composer Toolkit!
(I also tried to make a nice video but I suck at it)
(I also tried to make a nice video but I suck at it)
