Overview

Status: Available | Released: Dec 16th, 2014

Orchestral sample libraries are everywhere. You can buy cheap ones or you can shell out some serious cash for the top of the line libraries. And while the quality of your sample library is important, solid MIDI techniques can make ANY orchestral sample library sound more real. You just need to learn the tried and true methods that MIDI master and orchestral composer, Peter (Ski) Schwartz, reveals in this example-filled, information-packed, super-cool course!

Think of it this way: The samples are the instruments… and we all know that instruments can't play themselves! The MIDI notes are the score… and the score is just a musical roadmap. So where does the “real” MUSIC come from? We’re talking about the all important stuff like expression, phrasing, dynamics and feeling that is key when you’re trying to emulate a room full of great musicians! Well, the answer is all in the artful programming of the MIDI CCs and all of the behind-the-scenes MIDI techniques that you, the virtual conductor, bring into the production! That’s exactly what Peter Schwartz explores and teaches you how to accomplish in this 40+ tutorial course!

Whether you're using a premium orchestral library like EastWest or the basic one that came with your DAW, this course, on enhancing orchestral realism, will guide and inspire you to make your orchestral productions as authentic-sounding as possible. So grab your virtual MIDI conductor’s baton, open up your favorite sample library and start making orchestral scores that are almost indistinguishable from the real thing!

Outline

Section 1: Section 1: Gettng Started

Section 2: Section 2: Perspectives on Using Sampled Insruments

Section 3: Section 3: Dynamics & Dynamic Control

10

Dynamics Essentials

5m 51s

Section 4: Section 4: Velocity Control of Dynamics

Section 5: Section 5: Continuous Control of Dynamics

Section 6: Section 6: A Pause to Consider

27

A Question of Intentions...

8m 30s

Section 7: Section 7: Beyond the Basics

Section 8: Section 8: How Samples Fake Us Out

Section 9: Section 9: Bonus Content: Writing for Harp

Other Courses In This Series

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Reviews

LB wrote on February 6, 2018

This is an incredible course. It has a wealth of very relevant knowledge, is very well structured, very practical and very deep.
(1)
Kevin Nolan wrote on June 10, 2017

Stunning course. Addresses essentially ALL of the important issues w.r.t realism with sample libraries. This course has fundamentally changed my view and understanding of the 'art' in using sample libraries. I cannot recommend it highly enough. Peter Schwartz is extraordinary - as a musician and composer and as a teacher.
(3)
Rasitha Ferdinando wrote on November 24, 2016

I really like the way these tutorials are structured, the amount of information given, and how easily I can navigate and find a particular topic. Its amazing how much I have learned in the few months I joined. Its like I've gone into a full time uni but without spending a fraction of a cost. I have become a knowledge addict!
(1)
ZeroZero wrote on October 23, 2016

I've been tackling these issues for a while, I found that this course helped me to crystallize my thoughts in a number of ways - gave me an agenda for fixing stuff. It's very detailed, I shall refer back to it. The thing I found missing was dealing with humanizing timing and phrasing/tempos, but dont let that stop you delving into this, its detailed and thorough on other issues its also very clear
(1)
Zac wrote on May 6, 2016

The depth of this course material was insane! It is one thing to know how to compose...it is a whole other beast to tackle when it comes to the emulation of that in the digital world. Really glad I took this course and would highly recommend it to anyone wanting to create highly realistic sounding orchestral material in their work.
(11)
Matt wrote on April 30, 2016

A really great course. I've been doing midi orchestration for a long time and most of it was review but I learn some great tricks too.
(1)
Anders wrote on March 4, 2016

Definitely deserves 5 stars. Even though much of the workflow was not new to me I learned some new approaches and terms for techniques that I didn't previously. Absolutely essential if you haven't used orchestral sample libraries before.
(4)
the midi orchestra wrote on February 23, 2016

A very in depth tutorial. Everything very good explained. And I learned a lot about real instruments and how to fake to make it sound real. And Peter had some great examples, what makes it easier to understand. Never new the harp had such a special tonal control!
(24)
Brian Leary wrote on February 1, 2016

This course was VERY informative and enjoyable, and had some good humor thrown in to keep the viewer engaged. Well done!!
(1)
Stefen wrote on January 23, 2016

A really awesome course and laced with more humor a carrot top stand-up routine - Peter is extremely knowledgeable, thorough with a great sense of humor. I first watched Goss’ Orchestration 101 & 102 (to learn about the details of the instruments we will be replicating), then Guttman’s Music Scoring 101 (on how to control mood via harmony, rhythm and orchestral instrument choices), all amazing courses. This was the perfect follow-up, a real nuts-and-bolts look and the strengths and limitations of sample libraries, and how with a little “midi-futzing”, most shortcomings of sampled instruments can be overcome. Lots and lots of MIDI tips and best practices using a few different Library Authors such as NI and VI. I really go more than I bargained for. Thanks Peter! Although I can’t believe he passed up the opportunity to expound on the possible origin of the phrase “Getting harped on!” Watch the series and you’ll see what I mean. Two Thumbs Up!
(5)