![]() Experiment with different microphone combinations and reverbs to make your strings sound as if they are being played in the same room as the other instruments of your track. This processing nicely showcases the out-of-the-box tone but you should consider these default settings more of a starting point than the end goal. ![]() Most string libraries come with a variety of microphone positions and often an onboard reverb to place the strings in an emulation of a physical space. The first with no divisi, where you can hear the notes build up unrealistically and the second with Auto Divisi switched on for a realistic number of players. These audio examples are played with a violins patch. The SYMPHONY SERIES strings go one step further with an Auto Divisi engine that automatically allocates the correct number of instruments to the incoming MIDI notes. For example, libraries such as Hollywood Strings contain 16 violins divided into separate divisi patches of 9/7 instruments. Make sure that your string library has divisi sections recorded, as using these will give you a far more realistic result than just playing a chord with a single instrument patch. In addition, any individual string section can be split into two or more “divisi” parts. Emulate this within your own string writing by using individual section patches where necessary, rather than just one ensemble patch. A real-life string section will rarely play all at once, with violin, viola, celli and bass sections weaving melodies and accompaniment around one another. String writing has a style all its own, so bear that in mind whilst you’re programming and avoid simple block chords. If you’re using a keyboard MIDI controller to write your string parts then it can be tricky to pull away from the mindset of a pianist. This audio example uses a patch from Sonokinetic’s NKS-ready Sotto and another from Heavyocity’s Intimate Textures to evoke the feeling of shivering nordic wastelands. Right now, raw and intimate sounding strings with delicate harmonics are popular, so you’ll hear a lot of sordino and flautando articulations. The music of modern media scoring broadly follows the trends of the TV industry. However, if you’re looking for a lush cinematic feel then the SYMPHONY SERIES strings are a better bet – the expressive 60-piece ensemble and portamento transitions make for a romantic Hollywood feel. The selection of accented articulations such as scoops and falls is a staple of disco music in particular. For example, the smaller ensemble of SESSION STRINGS 2 is more appropriate for pop and other uptempo genres due to the closely mic’d recording sessions. Back in the studio, you can translate that knowledge to your own string parts, using virtual instruments to emulate bow changes, vibrato, and expression.ĭepending on the kind of string writing you’re doing, you’ll need to program strings in many different ways and use various types of libraries. ![]() It’s only by close-up observation that you can experience their bowing techniques, vibrato fingering, and see the dynamic flow of the performance in action. Sit near the front of the auditorium and watch how the string players use their instruments as they perform the music. However, nothing beats the real deal so get inspired by attending a live concert. ![]() ![]() Beyond that, you can study printed scores to see the composer’s own notation and learn how how strings accompany and complement the rest of the orchestral sections. If you want to really dig into the topic, Paul Gilreath’s Guide To Midi Orchestration is a good place to start, and you might also pick up The Study Of Orchestration by Samuel Adler. There are many resources that explain aspects like individual instrument ranges, articulation types, and playing techniques. Before pulling out your sample libraries it’s important to know how string players perform and to be aware of their limitations. ![]()
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