“Real Orchestra” Problems

“Real Orchestra” Problems Coming from a sampling background, many young composers are surprised about what main problems usually arise in “real orchestra” recordings that are practically non-existent in the sample world. When recording a real ensemble, the...

Scale Run Structures

Scale Run Structures When writing runs for any instrument that is capable of playing runs, you should stick to plausible scales. Instrumentalists practice their whole life to play scale runs in any form – upwards, downwards, starting on different scale degrees etc....

Optimal Range for Timpani

Optimal Range for Timpani Timpani sound best between the f below middle c and the f one octave lower. Even though their range exceeds that limit, in the very lowest register the membrane needs to lose so much tension that the sound gets muddy and unfocussed....

Dynamic Shaping of Sustained Brass

Dynamic Shaping of Sustained Brass Brass instruments have the greatest timbral change over their dynamic spectrum. Therefore swells, crescendos, sffz, fp are highly dramatic and very effective on them. If you use long sustained brass chords or tones on key parts of...

Hiding Behind Orchestration

Hiding Behind Orchestration Having the sound of a full symphony orchestra at your fingertips to play with is always exciting and opens up endless possibilities for interesting soundscapes. However, orchestration should never be a tool to compensate for a weak...

Piccolo Flute Highest Register

Piccolo Flute Highest Register In it’s highest register, the piccolo flute can be very piercing and shrill and sometimes even painfully loud. This can be a great effect when you want a really edgy sound. For example in action or horror music this sound can work...