4 Orchestration Tricks I Wish I Knew Earlier (For Sample Libraries)

Here's some tricks for writing better virtual orchestrations which I wish I knew when I was a beginner.
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00:00 - The problem
01:38 - Tip 1: Layering Articulations
02:42 - Tip 2: Using split sections to avoid mud and clutter
06:46 - Tip 3: Automating Mic Positions
14:47 - Tip 4: Morphing Articulations
23:32 - Why is this important
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🎻 LIBRARIES & SOFTWARE:
- Strings: Metropolis Ark 1, Cinematic Strings 2, Fluid Shorts, Jaeger
- Brass: Metropolis Ark 1, Century Brass, Jaeger
- Percussion: Damage, Rhapsody Orchestral Percussion
- Choir: Metropolis Ark 1, Oceania
- Piano: The Giant
- Solo Vocals: Jaeger, Vocalisa
- Guitars: Guitar Rig
- Trailer SFX: Juggernaut, Cinematic Trailers Designed, Scenes From The Multiverse Vol.1, Shredders, AVA Instinct
- Mixing & Mastering: iZotope Ozone, ValhallaRoom, ValhallaShimmer, FL Studio Plugins
- DAW: FL Studio 20
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💻 HARDWARE & PC SPECS:
- Desktop PC: 3.7 GHz Intel Core i7 8700k / 32GB DDR4 RAM / 2TB Samsung Evo860 M.2 SSD
- Laptop PC: Asus ROG GLW752 (2.6GHz Intel Core i7-6700HQ / 16GB DDR4 RAM / 1TB Samsung Evo860 M.2 SSD)
- Audio Interface: M-Audio M-Track Plus
- MIDI Keyboard: M-Audio Keystation 49 MkIII

[AlexMoukala]

Two things I forgot to say on the Morphing Articulations part:
1) The “polymap” function I showed at the end is present on most Orchestral Tools libraries. Even Metropolis Ark 1 on Kontakt has it! Read the CAPSULE manual to learn how to set it up.
2) There’s a way to do articulation crossfades easily with any Kontakt Library, it’s a script some people have mentioned here in the comment.
Look up “GrumpyMonkey Kontakt Scripts” on google to find it along with a treasure trove of other scripts that will enhance your orchestral writing.

PS. Apologies for the blurry video!
It took me quite long to record it, and only at the end I realized the resolution settings were messed up throughout the process.
Nonetheless, hope that knowledge helps out some of you.
Chances are some of these tips are things you're already using, so I recommend cycling through the chapters to just watch the parts you don't know much about.

[HpPmL]

Dude comes back 1 year later with 0 introduction 😂 love it.

[DNXIE]

I can't believe my eyes, welcome back Alex!!!! Much love brother!!!!

[matthewkheafy]

Alex! This video is truly incredible. I think the mixture of articulations is mind blowing. Thank you for what you do. I study the heck outta all your videos. Bravo!

[ammy]

Lol saw the video and expected an intro or a brief about how long it has been since he posted... And when he went straight into it.. I immediately went to his channel to see if I missed some videos... And no I didn't 😂😂😂 welcome back Alex 🎉

[CarlosAlvarezEpicMusic]

Welcome Back Alex! I was missing your tutorial videos, glad to see you again in this channel :D

[GRAVYBEATS]

Bro's back at it, welcome back boss 💯🙌

[beatz]

Just discovered you my guy! I have finally found the perfect guru to learn from! Amazing talent!

[LETTMusic]

Nice idea with automating the mic position. A good way to explain it is you're automating the position of Super Mario 64's Lakitu with the microphone, as he sweeps in closer or further from the orchestra as it's recording.

A tip for your morphing section, the way I have my default FL template set up, I create Pre-Master and Reference mixer channels, and use a Control Surface to set up a DJ style crossfader knob so I can easily slide back and forth to A B compare my track against a reference track. I found a linear approach with the mixer in direct middle, the total volume output was too quiet since decibels fall off logarithmically. So a better way to set up a smooth crossfade in FL isn't mapping a knob with mapping formula as "Input" and "1 - Input", but "Tension(Input, 10)" and "1 - Tension(Input, 10)". If you want to set it up to something like the mixer's volume faders which default to 80% = 0dB, then you can set it up as "0.8*Tension(Input, 10)" and "0.8-0.8*Tension(Input, -10)", and this will set you with two inverse volume faders that cross fade in a logarithmic fashion that caps at 80% (0dB). This type of crossfade is closer to how it would work in a DJ controller in a way that if both volume sliders are set at 50% or in direct center, the volume decibel loudness is equally as loud as if it was hard 100% A or 100% B. With this approach, you can set up a single knob/fader/MIDI CC to control to automate smoothly between any two sources with a balanced volume blend between the two. Hope this helps someone.

[DarkSideofSynth]

Nice tips. With acoustic instruments, the sound is in the fingers, not in the mixer ;) That is why all the articulation and dynamics symbols exist on a score, plus all the nuances there are no symbols for.

[Mattjki]

Thanks again Alex! It's great to have you back!

[David_cab_cus]

Glad to have you back! Your tutorials were always informative and inspiring and this time is no different.

[skippyzk]

I have the expressive e from Liee, you should try it! You can do all that dynamic stuff and fade in the the vibrato and reverb and everything

[alejandronegrin]

Welcome back Alex, I've been waiting for these things. Thanks again.

[StevenMelin]

I had no idea poly-mapping existed!! Super interesting. Thanks for sharing!

[adaraneocomposer]

Hey, Alex, I am glad to hear that. And I also have to say that as sound assistant in orchestral recordings it helped me to understand more the mic positions and mixing. Have a good time and see you in Prague!

[paulg]

You described me perfectly at the start :-) but I don’t want to use ensembles and learning how to layer and combine and this video has been incredibly helpful thank you.

[Lamberilio]

Glad to have you back, Alex! Always bringing the best guidance for us beginning composers! 👏👏👏

[ariaofthestrings]

I got an art station ad for this video with Alex Moukala, watching the tutorial from Alex Moukala. I love your work man sincerely.

[nishchalkujmar]

glad to see you again after a long time