Orchestral Mockup

Contexts of an Orchestral Mockup
  • A mockup as a final product
  • A mockup as a reference for a conductor and musicians

 

Sample Libraries
  • Ideally, work on a computer with 32 GB of RAM, a 2.2 GHz processor, and an external SSD for sample libraries. Otherwise, freeze certain tracks when the computer struggles to play the mockup.
  • Start by acquiring comprehensive orchestral libraries (e.g.: EastWest Composer Cloud or Spitfire BBC Symphony Orchestra), then add more specialized libraries to complement them.
  • Know the strengths and weaknesses of your sample libraries.
  • Compose with your sample libraries in mind, not necessarily based on what would sound best if performed by real musicians (e.g..: a violin theme in long notes accompanied by a full string section in short notes).

 

Session Preparation
  • Use a very minimal template session (e.g.: a reverb auxiliary, a limiter on the master, etc.) without virtual instruments (except for a piano). Create multiple track templates. This will limit unused tracks.
  • Organize tracks into clearly labeled subgroups and folders.
  • Position instruments in the stereo field (panning) according to their placement in the orchestra (e.g.: violins on the left, cellos on the right).
  • Favor legato mode, various articulations, and pre-recorded performance effects (e.g.: crescendo, fp, trill, etc.).
  • Some virtual instruments work best with a single track and multiple keyswitches (e.g.: certain woodwinds). Others benefit from multiple tracks, each dedicated to a single articulation (e.g.: certain brass instruments).
  • Use a consistent system for managing articulation changes (e.g.: the same keyswitches across instruments), so content can be quickly copied from one track to another.
  • Save the session as a folder (not a package) to conserve space. Create multiple versions of your session as you compose, so you can easily revert to a previous version if needed.

 

MIDI Programming
  • Record each part individually in the sequencer by playing it on a keyboard.
  • Vary velocities: use modulation curves for sustained notes and attack strength for non-sustained notes.
  • When possible, copy automation from one track to another without copying the notes (or vice versa) to save time.
  • If using quantization (or copy/paste), apply humanization so the performance sounds less mechanical.
  • Ensure tracks and MIDI clips share the same name and color (“shift + alt + n” and “shift + alt + c”).
  • Mark the harmonic progression of the piece using markers.

 

Recording Real Instruments
  • If possible, replace and/or double important parts of the composition with recordings of real instruments.
  • Prepare the DAW session content before exporting a MIDI (or XML) file to a notation editor (e.g.: quantize rhythms and correct note overlaps).

 

To deepen your knowledge of orchestral mockups, consult the Composition and Orchestration Resources page.