Create An Orchestral Template From Scratch!

i created this uh this project yesterday in this really short piece to show you guys uh what kind of template we're gonna build from scratch and what kind of sound we can get from a very very easy setup so this is how this sounds [Music] and now i'm gonna do something that i feel very bad about doing i'm gonna remove everything we have a completely empty project now there you go also in the mixer we see absolutely nothing uh and now i just want to show you guys um a little sketch i made of how this template what we're gonna build so i made this i made this in paint the best uh drawing software available and this is the sketch like the template sketch of of the template we're gonna make this okay i hope that makes sense anyway here's our flute first violin second violins violi chelly double basses uh trumpets horns trombones and i have we will create an individual reverb send i think in cubase they're called sense in logic uh they're called i think buses and in pro tools they're called buses as well so we're not gonna put reverb as an insert we're going to send the signal from the instrument track into the reverb and then the output of the instrument track is going to go to a group that we're going to create and the reverb that we sent the instrument track the signal into the reverb the reverb is going to feed back into the group as well so as you can see the flute has its own woodwinds reverb and the reverb feeds back into woodwinds so this woodwinds group is a sum of the reverb and the dry signal and the exactly same goes for the strings so the strings they each they all send to the strings reverb and the strings reverb sends into the strings group it is exactly same in the brass let's load up contact and the most boring part of this of course is loading our instruments hopefully they won't take that much that long to load what i will do is um i will load three contacts and the first contact is going to be my woodwinds the second contact is going to be my strings and the third contact is going to be my brass we could do everything in one contact and that that would save even more ram if you have like a beast of a machine you could also like just load each individual instrument in each ind like in each uh each instrument into one contact but every time you load up contact that already takes some of your ram up so it's it's best if like you keep your contact uh instances to a minimum okay so the first one is our flute call it our flute then the second contact uh the second contact we're going to load up cinematic studio strings we have our strings loaded first violin second violins violi shelly basses [Music] there we go so if i if i uh create now four midi tracks in cubase they automatically route to this contact i'm gonna call this violence one violence ii violence three vo oh we don't have violence three i went violas and double bases so as you can see the v is violence one go to midi channel one violence to go to midi channel two there you go violi midi channel three cellos midi channel 4 and double basses mini channel 5. even the double basses are now going to one uh one audio channel here so we have to say we have to make contact make different audio outputs for each instance and the easiest way to do this is go right here go to outputs and then go here to preset batch functions go to batch functions and say clear output selection and create one individual individual channel for each loaded instruments boom say yes and now it has created different outputs for different instruments so in cubase we can we can click on our contact instance instance go here and we open up these these audio channels we click here and then now we see them here so this is going to be our violins to violi cellos double basses and we can get rid of the last one so now if i play violi it's coming through the violi violi output here if i play the cellos [Music] are these the oh cellos [Music] they're gumming through the cellos so now what this means that if we when we go into uh mixing we can have an individual audio channel for each of our midi tracks which is great what i also like to do is just i like to color my strings and now i want to create a group i will set it to stereo i will name this i will actually create three groups and i will name the first group strings woodwinds and then brass group and i will of course color the strings green the woodwinds i'm going to color yellow because that's how i like my woodwinds the brass i'm going to color orange because that's how i like to color my brass so now when i go back to my mixer i can route all of my strings just the strings grip so now instead of them going immediately to the stereo out they will first go to the strings group and then they will go to stereo out so now let's add our brass uh so i'm gonna go again to outputs batch function clear output selection create one individual channel for each instrument boom and then i can go up here again one two three four so now i am opening up these audio channels that are going through con from contact into cubase i see them right here so this is my trumpets this is my horns solo horns a4 and trombone ensemble okay now we have to create midi channels for this as well one two three so this is horn solo horn ensemble and trombones uh now we can test if see if see if it works horn solo chron's ensemble trombo and essentials there they are now i just want to color everything again and then i open up my mixer and then i can route them to the browse group brass brass brass group our flute and we already loaded our flute we don't need to do anything with the flute because we have only one instrument um if need be if we like start writing a piece and we you know want an oboz or something we'll we'll add it now what we have to do is we have to make our reverb channels so i'm going to do add effects channel i'm going to do three and i'm gonna use east-west spaces uh i've been using spaces for uh probably a year now of as my main reverb for all of my all of my orchestral stuff and i like the socal orchestral hall because it has specific reverbs for its specific instrument group so for the woodwinds i'm going to use midstage this is going to be woodwinds woodwinds reverb this is our woodwinds reverb preset socal stereo stereo midstage brass reverb presets and for the brass we have a specific brass one here and for the strings i'm just gonna use the strings one what i also do for my reverbs and i suggest you do this it will definitely improve the sound it will sound cleaner and i'm going to draw i'm going to do a low cut and we can do 12 here and a high cut and we can do a six here and i'm going to place it in front before the reverb so what this does is when the signal is going to come from the strings so it's we're going to send one second this is wrong so the signal is going to go from the strings into the reverb uh into the this channel the reverb channel and it first passes through the eq so the signal that we're sending actually to the reverb is slightly eq'd on the lows and slightly eq on the highs and when it passes through the reverb it will it will brighten it up anyway a bit but it just this this makes this curve of the eq just cleans the sound a bit cleans the lows and cleans the cleans the high a bit from the signal before it actually goes into the reverb and it your reverb will just sound slightly cleaner and then you can if your reverb it's like a bit too dark you can always like adjust this but i will all i would always like leave the low end eq the low end out of your reverbs before it goes into the reverb again before and you can only do this if you have the reverb on ascend you can do this if you have it on the on the on the insert uh and you don't want too much low end in your reverb because if this reverb is three seconds long so if you're gonna blast low end into it you're just gonna have you know this boominess going on and it's going to destroy your mix another thing if because we are using the reverbs as an insert not as ascend you want your wet signal to be all the way up and you don't want any dry signal going through your reverb so the mix of your reverb should be a hundred percent uh and let me know and if that makes sense okay so what let's continue so the woodwinds reverb we're going to route back to our woodwinds group the brass we're going to route to the brass group and the string reverb we're going to route to the strings group and now we have to create our sentence so the first violins they're sending to the string reverb and all of the strings are sending to the string reverb like so all of our brass is go is uh yeah all of our brass is feeding to the brass reverb and where is our flute our flute is going to the woodwinds reverb so if now i play my jelly and i will open it up like this so you can see that oh this is arvioli or violi the strings group is lighting up and the string's reverb is lighting up with reverb no reverb no reverb with reverb and our strings group i think it would make more sense actually if i put the groups after the reverb because that's how the signal is going so our strings group is a sum of the reverb and the original instrument so again chili with a reverb no reverb [Music] that makes sense are brass is it routed correctly it is our flute also routed correctly now let's do a bit of a bit of uh mixing of our template we're not going to do a lot but i'm just going to do something that i that i realized is quite important um in cinematic studio strings and in in most string libraries in most instruments in general but if i boost around 2k [Music] it's a very do you hear that very like nasally quality of this frequency range hear how nasally this is and not pleasant sounding a lot of mixes like um sound like have a build up around 2k to 2k and a half 3k where where everything sounds a bit nasally so i like dipping this a bit and you can do this to taste so this would be with our eq with without a re-eq [Music] you can hear how much like smoother it sounds with our little eq on it and i can basically duplicate this across all of my strings get rid of all the the the bit of nasaliness of of of the strings and we can always adjust this this is just you know a starting point and i always like to do this yes it's a bit darker as well but uh here's the thing like you want your mix to be slightly darker than your master is going to be because if i put another pro q on my master then so i'm playing the strings i can always boost the master and i would get the brightness on the master then but i wouldn't get you know the nasaliness of the strings that we have before but we will do you know a bit of mastering in the end so let's the only other eq adjustment that i'm going to do off the bat is our horns and for the horns i'm going to slightly lower [Music] the very low low low notes of the horns i'm just gonna slightly lower them and i'm gonna boost the high so i get more of the buzzy sound and again this is only a starting point and we can always adjust that when we go along [Music] all right now let's write let's write a just for the fun of it how everything sounds now we will write a a nice c major chord and this is so that when we listen to this we can go to our mixers and mixer and we kind of adjust you know the levels of each instrument [Music] wow the trombones we hear that are very loud the flute very loud [Music] well maybe what we also want to do is just add expression data to all of our instruments and volume to all of our instruments so they're all really at the same midi volume i can i can actually hardly hear the strings and i can hear everything else the the trombones very loud

Channel: Evenant

Views: 7,745

Keywords: evenant, music, tutorial, lesson, lecture, online course, cinematic, composing, composition, creative, orchestration, sound design, sfx, composer, song, songwriting, skills, beginner, intermediate, advanced

Id: mR4Da3kEOWE

Length: 20min 47sec (1247 seconds)

Published: Sat Apr 10 2021