Strings n Things

There are one or two on this site who make strings seem easy but I've recently had a dabble and their hard work to get right. I'd like to start a debate on the tricks of the strings trade.

For example is it important to position the strings accuratley in the stereo field?

Are there certain strings that should never play together? either because they clash at a harmonic level or simply for real world accuracy.

What tips are there for orchestral percussion to be shared.

Given that few instruments have the register range of the piano what octaves/notes should certain strings be restricted too?


Over to you experts... (I'm expecting loads of info from the likes of KTA, GravitySlip, Tony Miller, Andy F to name but a few.....

[GravitySlip]

Hello Antony,this page might help you,its a start for now.

Orchestra layout

I will come back soon with more info hope this will be of interest
Regards Pete-GravitySlip
Latest tune- Dorain's Messsage

[LIQUID]

Pete thats perfect, cheers mate

Ant

[TonyMiller]

I find it very easy to make strings sound very UN-natural. It takes a lot of time and effort getting them sounding right, and usually involves getting note overlaps right, swelling and decreasing volume in the right places, and interplaying various string sections so they're not all playing the same damn thing at the same damn time, which sounds very un-natural. Must say, listen to AndyF's latest (The Chamber pt IV) to realise where the standard lies. He is the best.

[LIQUID]

I agree about Mr AndyF setting the bar very high indeed. What I need is Andy's secrets

[LIQUID]

A few of have tried string based tunes recently - I dont put myself near the top of the pile.

Would anyone be kind enough to compose a short modest piece with all the necessary dynamic elements that a good orchestrated piece needs then write a narrative explaining the tricks o the trade?

[TonyMiller]

Originally Posted by LIQUID

A few of have tried string based tunes recently - I dont put myself near the top of the pile.

Would anyone be kind enough to compose a short modest piece with all the necessary dynamic elements that a good orchestrated piece needs then write a narrative explaining the tricks o the trade?

What I suggest is get a midi track with plenty of orchestration and study each track to see how it's done. You'll need something decent to reproduce the sounds, I don't know what you use. I use Garritan's orchestra VSTi. You can also get some reasonable sounds with Bandstand (which is an upmarket GM software sound module).

As I said in my earlier post, listen to lots of orchestral work and the interplay between the various sections of the orchestra, particularly strings.

Try working with say a string quartet. Have a listen to The Four Seasons (Vivaldi). I like to work with piano, violin, viola, cello and something totally different like English Horn or clarinet. Get some sort of interplay going, say the violin playing a melody, the cello copying it at a lower register, and the piano gently arping in the background. (Don't use automatic arps, they won't sound good with orchestral stuff.).

DON't repeat DON't quantize the hell out of it. In fact, don't use quantize at all... Play it naturally and manually correct anything totally out of time. I manually adjust things to give a more natural feel. I tend to pull strings forward just a few milliseconds.

Spread piano chords, don't have them starting on a knife edge, unless you're looking for real attack.

Don't keep things all at one sound level. Swell them up and down as the mood takes. Imagine a conductor urging the strings to crescendo to emphasise a passage, then bring them back down.

Hope all this bollox helps in some way... I'm still learning and always will be.

Antonio

[KtA]

Probably one of the most important things to know is where to seperate the instruments,starting with violins(bottom note G3),violas (bottom note C3),cellos and d-basses.Don't write as solid chords...write each line seperately as if it were written for real strings.Strings can only play two notes at once max and most of the time they don't even do that,so like a real orchestra,have two (or more)violin sections...1sts and 2nds,etc.
Seperation of the individual parts is the key mate.

Here's one of my attempts...
MP3 Unsigned - The Best MP3's from New and Unsigned Artists

...sorry for the blatant pimpin'

[LIQUID]

Tony/Mart

Thanks guys both really helpful insights and things I havnt been doing so they should make an imediate impact..he hopes

Dont expect Stockports answer to the Halle anytime soon but anything I do thats an improvement will be thanks to you chaps

[howsie]

the most important thing to do is use midi controllers to change volume , expression and timbre..real strings are never static....also spread chords out (although clusters work as well because strings can actually sound good with dissonance in the right places)....i,ve posted a link up to the string arrangments i did for a track by acousticmick called the storm....(hope this doesn,t come across like i,m blowing my own trumpet cause i dont mean it to..it,s just one of the tracks i,m most proud of in terms of trying to get as real an orchestral arrangment as possible
MP3 Unsigned - The Best MP3's from New and Unsigned Artists
howsie