LOGIC PRO X - Orchestral Programming Part 4: Brass and Woodwinds
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- čas přidán 30. 06. 2024
- In the fourth and final part of my mini Orchestral Programming series, I’m bringing the string lines written in Part 2 into the Template built in Part 3. I’ll show you how to split String parts between Long and Short Track Stacks before moving onto hearing how an arrangement can come together with Woodwinds and Brass parts. There is a big sonic difference between a Solo Flute player and an Ensemble of 3 players and, having explored those options from a Flute perspective, we’ll also look at Clarinets, Oboes and Bassoons, learning how we can use one part of our piece to ‘double’ another. And then I’ll show you how to add regal Brass lines to your performances, seeing how important it is to take lung capacity into consideration when you’re writing long, extended lines.
Part 1: • LOGIC PRO X - Orchestr...
Part 2: • LOGIC PRO X - Orchestr...
Part 3: • LOGIC PRO X - Orchestr...
00:00 Intro and recap
00:54 Strings imported and separated into Longs and Shorts
04:19 FX sends for Strings Longs
08:23 Creating FX for Strings Shorts
11:48 Introducing Solo Flutes
16:30 ‘Compressing’ Flute Velocities
18:39 Swapping Solo flute for Ensemble patch
19:53 MIDI Transform - Humanize
24:18 Flutes another octave higher?
26:25 Clarinets
27:57 Bassoons
34:21 Oboes
36:27 Trombones
44:05 Melodic Horns
46:02 Chordal Horns
49:20 Further considerations
Amazing stuff, yet again. The detail, and the leverage to launch your own experimentations from the content in these videos is just outstanding. Thank you so much 👍
Thanks a million, Peter.
I love the way you have of communicating information. No fluff, concise and to the point. And you also complete each sentence you start. No repeats. Keep doing the job you do it so appreciated. Thank you so much.
Thanks so much Phil, that's greatly appreciated.
Great and a bit longer video than usual (which is cool)! Thanks a million for your generous way of sharing the knowledge in a witty manner, for your precious time, and so on... 🖖
You're most welcome. Thanks!
Jono ... I wanna hug you. I feel like writing you a handwritten letter by now, with quill and ink even, to thank you properly. These tutorials are EXCEPTIONALLY good. I don't know what to say. I hope you feel like going further with this. thank you, thank you, thank you. 🤍🤍🤍
Hugs are always welcome, as are letters and ink! Glad the tutorials are helpful.
3 French Hens + one panther = no French Hens and a disgruntled French poulterer.
Fantastic tutorial and not one brass player died in the making.
Thanks again Jono for providing these liberal gems of knowledge. Much appreciated
Ha! Thanks so much, as always. The brass players... we need them. And they need air.
Thank you Jono! Helpful tips throughout. Amazing how you know what I'm thinking/yelling also. I'd be interested to see an example of using 3-5 effects on a given part.
Hi Peter. Great, thank you so much. Absolutely, multiple FX sends is something I'll certainly look at.
You are a wonder. You exceeded and tripled my expectations. It was a fortuitous day when I found your channel. Everything everyone is saying about you is so true and well deserved. Thank you, thank you so much for helping all of us.
Thanks so much Bobby. Those are extremely kind words and they're much appreciated.
Gold! Thank you so much, both very useful and pleasant to watch and listen to.
You're so welcome.
Another great lesson, Jono. Thanks so much!
You're very welcome - I'm glad it was helpful.
Most Olympic swimmers become brass players because it’s the natural progression! Thanks for the series on Orchestral Programing! (One m in the States)
Gianni❤
Exactly right!
Another excellent and very useful presentation! Thank you.
Thanks so much.
Thank you very much, the lesson was incredible! I would like you to think about making a video using symphonic percussion if it's possible in the future. Hugs from Brazil!
Hi Josimar. Thanks so much and I’m glad you enjoyed this episode. Orchestral Percussion programming is certainly something I’ll look at in future. If you’re interested in the media composition side of this channel, stay tuned. Some exciting announcements to make in the coming weeks.
Thank you for spending the time making these excellent tutorials! Much appreciated Jono. Greetings from Northern Norway - Hendrik
Thanks so much, Hendrik, as always. Much appreciated.
Brilliant! Looking forward to getting stuck into this! Thanks Jono
Thank you. Enjoy!
This series is going to stay relevant for a long, long time! That’s what good content is all about. Thank you, Jono.
By the way, is that a fine speaker, or is ET really focused on learning music composition? 😂
Thanks so much! Ha - ET did phone home but then became an early subscriber to the channel. 😉
It hadn’t occurred to me to use Core (when it’s suitable) to economize. Doh! Thanks for that. Another strategy I’ve seen on YT is to assign articulations to their own MIDI channels for each instrument within the Spitfire app. That’s a different template and workflow. There are just 16 MIDI slots available so you can’t always include the whole set of articulations for all instruments but it has some advantages - especially for those of us with limited computer resources. Have you considered that method?
Your approach from template to orchestration and production is well thought out and is very much appreciated. Learning aux and bus strategies reminds me of the transition from math to algebra. For me, it was the first truly daunting moment in learning Logic. It’s still daunting. It’s also the point where the connections we’re wiring start to sprawl and feel unmanageable - especially with orchestral templates. Thanks for shining clear lights on the matrix. Cheers!
Hi Gary. Thanks so much for your kind and insightful comments. Regarding mapping articulations to MIDI channels - yes, I have tried that but, for me, Articulation Mapping is such a neat approach that I've fallen into step with that. I quite like making a cup of tea and building Articulation Sets from time to time (nerd alert!) and, certainly with SA libraries, these often translate well between libraries too, making it easy to import one which is 'close', make any required changes and 'Save As', having personalised it to any new articulations.
You're right too about Bus assignments, particularly when incorporating them into Track Stacks, quite regularly prompting some initial head-scratching. I'd recommend starting with just a single Stack, assigning Busses for it... and often a penny drops when it becomes apparent how useful it would be for the effects for that Stack to live inside it, alongside the sounds to which those effects will be added. Then it's just rinse and repeat for subsequent Track Stacks.
@@jonobuchananmusic Thanks for the reply. Yeah, I’ve built Articulation Sets too. They’re great for playing in a line that has several articulations. I play it in using a legato patch (or long) and then go back and assign articulations. The downside is in not separating shorts and longs for bussing. Another way is to play the line in on one patch - longs, for,example - and then copy the shorts to their own tracks and deleting them from the original. Maybe you’ll be covering some of that?
Final part? Oh, I wanted it to last much more! ;-) Seriously, Jono, your channel is one of the best sources for people interested in music production (especially with Logic Pro), and the only thing I can say is THANKS for your dedication and four your sharing your knowledge and skills. By the way, what keyboard is the one on your desktop? And what do you think about the KK M32 we saw in previous videos?
Thank you so much. There will be plenty more orchestral content to come, albeit in a slightly different form - look out for some announcements about that in the coming weeks. In answer to your question, the keyboard is the ASM Hydrasynth. I decided it was time to add a little 'external sound' to the rig as I'm looking at a few topics around that idea for the channel in the coming weeks. The M32 is a great controller keyboard for the road - lightweight, portable, flexible. I grew up playing piano, so I wouldn't want it to be my 'only' keyboard but for its intended purpose, I think it's definitely worth a look.
This is awesome. You should work for Spitfire.
Thanks Rob, that’s very kind. If I did, I suspect Will and I wouldn’t be able to cover the range of content we have planned… watch this space!
Thank you for the Orchestral tutorial, the 4 parts were helpful. Also, I learned some of the logic pro x technique, like how you copied region automation from one track to another, more like a workaround you provided and by duplicating the track, Now how can we get more of the good Orchestral tutorial,?:) I appreciate all the work you do and sharing your knowledge with all of us. Best
Hi Sammy. I'm so glad they proved useful. And it's interesting you should ask about more on this topic. Watch this space - announcements coming soon!
@@jonobuchananmusic Thank you again for your time and commitment, watching the tutorial was not only helpful, and I enjoyed your sense of humor, well done all around
Dead brass players, well no one wants that :) :) :). I wish I could justify the £500 quid for the libraries, but as an amateur composer I couldn't fork that out, even if it sounds so absolutely sweet. Appreciate you get what you pay for though. Fantastic information though, great tips on humanising the midi. Thanks Jono.
Hi John. Thanks so much, as always. Yes, it's absolutely true that they're not cheap. I'm sure you're doing this already but do keep an eye out as Spitfire Audio, and the other companies which make great-sounding orchestral libraries, do regularly offer introductory offers and regular discounts. So, sometimes, that £500 can drop pretty considerably. I'm so glad the tutorials continue to prove useful.
A great lesson.❤
Thanks so much, as always.