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Check out this new article that we wrote for Pro Sound Effects!

https://blog.prosoundeffects.com/top-5-ways-to-improve-the-sound-of-your-mixing-room

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Check out this new blog post that we wrote for Pro Sound Effects:

https://blog.prosoundeffects.com/5-pro-tools-mixing-secrets-for-audio-post-production

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The string family of instruments has long been the cornerstone of the orchestra. With their lush and expressive sound, it's easy to see why they have been such a prominent feature in both classical and film music. Working with a live string ensemble is the holy grail for most budding film composers, but it can be an intimidating task if its something you have never done before. In this article, we will guide you through the process of arranging and recording your piece with a string ensemble.

Step 1 - Finish Your Track In Your DAW

This seems self-explanatory, but first things first you need to get your track finished. This means making firm decisions on the structure, arrangement and musical elements that make up your piece.

Step 2 - Split Up Your Parts

Most string libraries come with ensemble patches meaning we can play in chords just like we would do with a synth pad. However, strings are for the most part single-line instruments, meaning they only play one note at a time. This means that we need to split up our parts into four voices. We recommend following this process:

- Create 4 new midi instrument tracks - Violin1, Violin2, Viola, Cello

- Copy down the midi from your string vst

- Go through each instrument one by one and delete the notes that you don't need.

For example, Cello only wants the lowest notes, Viola in the middle and then Violin 1&2 can play the top two lines.

Most DAWs should have built-in notation capabilities and will take the midi data and arrange it as notes on the stave automatically. Double-check that you have changed to the appropriate clef for each instrument, as most DAWs will default to a piano layout. You should be able to easily change this in the score editor in your DAW.

Cello - Bass Clef

Viola - Alto Clef

Violins - Treble Clef

Step 3 -  Articulations, Accents, Dynamics, Slurs

Once you have split up your parts for the appropriate instruments, its time to get into the nuts and bolts and add in all the little details that make up your piece. Go through note by note for each instrument and input as much information as you feel relevant. Most DAW score editors will have functions built in that allow you to do this.

Articulations - Different playing styles. Is your piece all long flowing notes (Legato) or do you have short notes as well? Are the players using any non-bowing techniques such as pizzicato (Plucking strings like a guitar) You should go through your piece and mark down all of the articulations for each instrument.

Accents -  An accent is an emphasis, stress, or stronger attack placed on a particular note.

This is marked by a small downward-pointing triangle symbol that is placed above the note you want to be accented. Accents are most commonly used on rhythmic passages.

Dynamics - Dynamics refer to how loud or quiet a part is, and are marked with a p or f on the score. ppp is very quiet and fff is very loud. You can also add crescendos and decrescendos for parts that swell and recede in volume. Dynamics marking is very important as it will give your piece a better sense of movement and really ramp up the emotion during more intense sections.

Slurs -  A slur is a symbol in musical notation indicating that the notes it embraces are to be played without separation. For bowed string players, a slur means to play a group of notes in one bow. This means to play the notes without changing the direction of the bow.

You don't need to go overboard with all of this, but the ensemble will definitely appreciate having a few indicators of how you want the parts to be played. You can also have a chat with them on the day to finalise everything and they can mark this information on their scores with a pencil.

Step 4 - Schedule Your Recording Session & Send Your Parts To The Ensemble

You should now have all of your parts laid out with all of the articulations, dynamic markings, etc. The next step is to find a group of players to hire for the recording. We recommend contacting conservatories and music colleges in your area, as they will likely have a number of string quartets and larger groups that are hungry for work. A quick google or Facebook search should be enough to find a group that is right for your project. Explain what you want to achieve with the recording session, the number of pieces, location of recording, etc and agree upon the hiring fee.

You should also discuss the logistics of the recording session, such as will they be bringing their own music stands? Will they use printed music or read from an iPad? How long will they need for lunch breaks?

Once all this is discussed and agreed upon you can send your parts as pdf files to the players for them to begin preparations.

Step 5 - Stem Out Your Piece And Create Click Tracks

Bounce out all of the different parts of your track as stems. This will allow for more flexibility when creating headphone mixes for the players on the day of recording. You can stem out your track in instrument groups, so if you have 6 different percussion tracks you can bounce them as one and call it "Drums"

The finished stems for your track may look something like this:

Synths

Choir

Drums

Guitar

Bass

FX

As well as creating stems, you should also make a bounce of just the metronome from your DAW. This is extremely useful as it will keep any tempo mapping or time signature changes that you have in your piece.

Step 6 - Set Up Your Recording Space

Create a space that will function as the "Control Room" for the session. This is where the composer and engineer will set up their equipment and run the session. Set up the players chairs in the spot that gives the best sound, which will usually be somewhere in the centre of your recording space. You can make adjustments once the players arrive and start running through the piece.In terms of microphones, we recommend using an XY pair to capture the room, with spot microphones to capture individual instruments. Be careful not to place the mics too close, as string instruments can have quite a harsh top end, especially the violin when playing in its upper register.

STEP 7 - Running The Session

Let the players do a couple of run-throughs of the piece to work out any teething problems that there may be. Remember to ask for advice if this is your first time. The string players will have a lot more experience and will know how to get the sound that is the best fit for your music. Once everybody is happy with everything you can start recording takes.

Listen keenly and follow along with the sheet music as best as you can. Its worth having a notebook on-hand to write down any specific thoughts or ideas you have whilst recording.

Give direction to the players in between takes if there are any adjustments you want to make. Players will play what is written down so it's up to you as the composer to communicate your intentions for a specific phrase or section if they didn't quite play it as you have envisaged. String players fingers need time to warm up, so once they are in the zone It's a good idea to "strike while the iron is hot" and get a few solid takes in quick succession.

Remember to relax and have fun. Hearing your music played live in front of you is one of the greatest feelings as a composer, so be sure to savour the moment!

Step 8 - Mixing

With the recording completed, you can now import them back into your DAW session and start mixing in the live strings with the rest of your track. You may still decide to use a string ensemble vst as a blend layer to add extra depth and fullness to the strings, or to fill in the bottom end that a double bass would usually occupy.

Although this guide was written with a string quartet in mind, these tips should apply to working with most instruments in small-medium sized ensembles. We hope you find this article useful. Have fun applying this guide to your own projects.

Recording your music with a live orchestra is a true milestone for composers, and is something that all should aspire to do at least once. However, assembling 50-plus musicians on stage and getting a high-quality recording is a serious challenge both technically and logistically. In this article, we will guide you through the process.

Recording Space

First things first you will need to scout out a few different spaces and see what works best for you. There is a lot to consider here such as background noise, accessibility, acoustic properties and of course the cost. Hiring a symphonic hall is definitely the best option in terms of sound, but it will come at a higher cost than other options. Cheaper options include town halls, schools, old warehouses, churches.

Stage Plan & Channel List

List the instrumentation for your pieces and work out how many microphones you will need, including mics for the Decca tree, outriggers, and room mics. For a full orchestra, you are looking at 30-plus channels so make sure you are adequately equipped to deal with a session of this size. This means having a rock-solid computer system, and a desk with the right pre-amps needed to power all those mics. Plan out all of this in detail and create stage diagrams showing the layout for the session, based in the space you have available.

Decca Tree, Hall Mics

The main content of your recording will come from the Decca tree mics, with the ambient and spot mics there to support. You will need 3 mics, one for the left, center and right channels.

Positioning is key for an accurate sound, so make sure you are meticulous in the spacing and angle of your mics. You want there to be a full, lively sound with a nice balance in the stereo image. For your microphone choice, we recommend using small-diaphragm condensers with a neutral response for the tree mics.

In terms of the Decca tree itself, you can buy one online, You can build your own DIY version using metal/wooden frames and sandbags as a counterweight.

Conductor

A conductor is crucial to getting a great recording, so get one on board as soon as you can. Not only are they there to guide the musicians through the music, but they act as a leader for the orchestra who will keep things on schedule. Make sure they have been given as much information as possible for the session, as the more preparation they can do the better. A conductor will also look at the music and flag up any potential problem areas in the score, which can save you a lot of time of the day.

Plan & Organise

As the old saying goes, failing to prepare is preparing the fail, and this couldn't be more true with a large scale recording like this. Make sure you get all of the music parts printed and organised ready to go on music stands, as last-minute printing is the last thing you want to be doing. Plan out the day in fine detail and prepared for any problems that could arise over the course of the session. What if the fire alarm goes off? What if the musicians get lost? Where can people get tea/coffee? These are all things that you need to have a plan for if you want your session to run smoothly.

Stage Etiquette

Once the orchestra has arrived and is finished tuning, you are ready to begin recording. If you've got this stage congratulations, as you are about to hear your music played by the orchestra which should be an incredible experience. However now is when you need to be extremely mindful of the stage etiquette of the players, as things like chair shuffles, coughs, page turns and stray pencils can spoil a great take. This is where having good communication with the conductor is crucial, as they will manage the conduct of the orchestra once they are on the scoring stage.

‍If you have followed these steps and planned accordingly you should have a fantastic recording experience! We hope that you find this guide useful.

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Film music composition is a diverse craft that is equal parts technical and artistic.

However, It can often be confusing for newcomers looking to get started in film music.

This article is contains 5 tips that  will help take your compositions to the next level.

1. Find The Heart Of The Story

Every story contains themes and ideas that are communicated through the characters and their actions. For example, Harry Potter is filled with magic, suspense and action sequences, but ultimately it is a film about friendship and family. When composing for a particular scene, always ask yourself how it relates back to the central themes of the story.

If you know what the core themes of the story are, then you can use them to guide your composition. This will help to get ideas down quickly, and establish motifs that you can use throughout the film.

2. Use Your Down Time For Experimentation & Research

Make time in your schedule to experiment and explore new ideas. This can be anything from creating your own sounds, trying out new musical styles/instruments, or researching a new topic. This is not only loads of fun, but is a great way to use down-time in your calendar. Keep learning and seeking out new musical avenues. Make an effort to approach things from new and unique perspectives. This will keep your creative muscles in good shape for when a new project comes along.

Ask yourself - what do I bring to the table that cant be found anywhere else? By taking time to research and experiment, you are shaping your individual voice and perspective as a composer.

Here are a few research/experimentation ideas to try during your down-time.

- Research the music from another culture and create a composition

- Record household objects and create your own sounds from them

- Compose a piece using atonal instruments

- Research an obscure musical style/genre

- Create a composition only using sound produced by your mouth

3. Listen To Lots Of Music

As a film composer, it is essential to be familiar with a wide range of musical styles and instrumentation. You never know what the next project may require, so make an effort to listen to a diverse selection of music. You should aim to build up a database in your head of what types of sounds align with certain emotions. A director may say something like "I want it to sound gloomy/sombre". If you already know what kind of instruments and sounds are associated with a particular feeling, then you are able to deliver what they are asking for much quicker.

Study the music from classic films so that you can draw upon what other composers have done before you. Listen with an analytical mindset and think about the musical and sonic devices that are being used. Identify what techniques are most effective and integrate them into your own compositions.

We are living in an age where the entire history of recorded music is only a few clicks away. This is an incredible resource that film composers of yesteryear didn't have access to, so use it wisely! Listen to classical, jazz, world music, electronic, folk etc. Basically anything that will expand your horizons and provide you with new musical ideas.

4. Involve Live Musicians At Every Opportunity

Even with all of the digital instruments we have available, There's nothing quite like recording with real musicians.

Recording with live musicians will bring your music to life, and give your tracks a level of expression that just cant be achieved when working in the box. Not only will your music sound much better, but the process of arranging all of your parts and hearing them performed is extremely satisfying, and will give you a deeper appreciation of your music. Planning and carrying out a recording session is also a great way to practice your people management skills, and will give you a glimpse of what is to come when you are working with larger ensembles and orchestras.

If you are working with small budgets, don't be afraid to reach out to students at music colleges. They generally play to a very high standard, and will cost a lot less than a professional ensemble. Even if its just a violin or cello, record your parts with live musicians. It will take your music to the next level!

5. Understand The Post Production Process

You don't need to know every little detail inside-out, but having general sense of the post production process will make your life easier when working on a film.

There are many different audio roles in film production, each with a their own specific focus. As a composer, its very useful to know what all of the roles entail, and how your music fits into the bigger picture. You need to know what will happen to your music once it has been delivered for mixing, and how the mix engineer will balance your music against the other sonic elements in the film (Dialogue, Foley, Sfx etc).

Demonstrating this knowledge shows a level of professionalism, and will put you ahead of the competition when pitching for projects.

We hope this article has given you some great tips. Have fun composing music for your projects.