Orchestral Programming
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Orchestral programming is the term used to describe the process of composing and recording orchestral music completely within computer software by using orchestral sample libraries and VSTs to play them inside a DAW. These sample libraries are a collection of hundreds and thousands of recorded audio files that are arranged into a virtually playable instrument. In this programme the player/composer has the ability to chose between all instruments of an orchestra. Unlike synthesizers where the sound of maybe a violin or a cello is imitated through generated sound, with the sample players we hear audio recordings of the original instrument with all articulations of every musical note it can play. These extensive libraries make it possible and available for composers to write and listen to their pieces instantly.
Tools[edit]
The basic structure of orchestral programming boils down to a computer and on it a DAW and the sample player which then loads the samples of the recorded orchestra for the user to be played back in real time. To the computer a piano keyboard or a MIDI controller can be connected for easier writing, but there are certain software where the composer can write the sheet music and assign the notes for the software instruments of choice.
The main part of the process is the orchestral sample library. This is the file that encapsulates all audio recordings of the notes of all the instruments of the orchestra. The biggest and most detailed of these libraries contain around one million audio recordings.[1] Each instrument is recorded multiple times with multiple different microphones and in different audio settings to ensure variety.
Due to the extensive work required to make a quality sample library their price is naturally high. They range from $199 up to $1,600. Also, generally the size of the libraries is quite big with it ranging from 8GB to 50GB.[2]
To this there is an exception: Spitfire BBC Symphony Orchestra Discover,[3] which is a high-quality orchestral sample library downloadable for free. This brings the power to write orchestral music available for anybody, and the total amount of disk space required for the download is only around 200MB.
Uses[edit]
Film and TV scoring[edit]
Because these tools are readily available many composers turn to orchestral programming when they need a quick solution. A quicker way to listen to and audition their ideas, a cheaper alternative to a bigger orchestra, or a complete replacement of an orchestra.
When the budget and the deadlines are tight [4] many composers use orchestral sample libraries in one way or another. They can either expand the existing recordings of the actual orchestra they have with the samples that sound organic in the setting or if they have no orchestra to work with the sample library is good enough to replace the orchestra all together. Although composers always recommend composing for a real orchestra as the feel and style of real players cannot quite be replicated by computer technology.
Other musical genres[edit]
Other than classical music orchestral programming can be useful in many other musical genres as well. Quite a number of pop music productions reach to sample libraries to add a touch of classical instruments into their work. Hip-hop and RnB producers also are more and more interested in the possibilities of orchestras readily available.
History[edit]
The first commercially available sample libraries appeared in the mid-‘80s among which the most notable were the Prosonus Series. These libraries were fairly small, not so extensive and were stored generally on CDs and could be played by the age's cutting edge digital synthesizers like the Fairlight CMI III. Many of the decades big Hollywood film scores were composed and performed on these machines. As time went forward, technology evolved and from the chunky room sized synthesisers that were needed to play a sampled orchestra we have seen a change into smaller form factor but at the same time higher audio quality.
Composers[edit]
They use orchestral samples on almost all their projects, either to supplement the live musicians or to make sketches in their studio or even write the whole piece using samples only.
References[edit]
- ↑ Davies, Josh. "Examining the role of orchestral sample libraries in modern production". Happymag. Happy Media PTY. Limited.
- ↑ "Products". Spitfire Audio. Spitfire Audio Holdings LTD.
- ↑ "Products". Spitfire Audio. Spitfire Audio Holdings LTD.
- ↑ Burlingame, Jon. "Composer Jeff Russo Boldly Takes 'Star Trek: Discovery' Into New Musical Territory". Variety. Variety Media, LLC.
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