For this tutorial, I used Symphony Strings Essentials in Kontakt 5. If you own Kontakt and a string library, I encourage you to try these techniques with your own samples. Feel free to Splice any of the DNA players to open the Logic Pro X session on your own computer – the project contains rendered audio files of the Kontakt instruments and the associated MIDI tracks. This tutorial will specifically focus on the basics of realism when producing orchestral strings.Įach technique discussed will have an accompanying DNA player so that you can hear how they affect the sound. Before we begin, attaining realism with orchestral productions is quite the rabbit hole, especially if we branch out into all the sections of the orchestra. Thankfully, the techniques needed to achieve realism are easily within reach – all it takes is a little know-how and some careful mixing. The issue crops up with some frequency, especially with newer orchestral producers, as we expect these $400+ libraries to have a turnkey solution for our realism woes. Modern orchestral samples are extremely high quality, miles ahead of some from previous generations, but we still run into the issue of making those samples pass as a live orchestra. Illustration: Sofia Pashei You’ve just finished writing a beautiful string orchestra piece but can’t shake the feeling that it sounds off.
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