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Manchester Based Audio Studio. Sound Design | Voice Over/ADR | Foley | 5.1 Mixing | Pro Tools | Education | Sound Effects Libraries
Manchester Based Audio Studio. Sound Design | Voice Over/ADR | Foley | 5.1 Mixing | Pro Tools | Education | Sound Effects Libraries

ARTICLE: Working With a Live String Ensemble - A Guide for Budding Film Composers

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.