hello and welcome to another beach utah real here
on a virtual music tutorials my name is less Ashtead
in this tutorial video we will take a look
I'm how to create
that basically got a line using
east west quantum leap symphonic orchestra
so this the video is part the
of a tutorial series I'm doing on east west quantum leap symphonic orchestra
so in the series I will show you
how to use and this library how to make it sound realistic basically
and feel free to check out the intro video if you want to
where I'm I explain the basic concept of the
tourists here is and how it's built I'll
yeah and also feel free to browse through this
through YouTube channel and take a look at that the views
which are available there get if you're you
to this whole thing for all the others I am
I just say well come back and let's get started today
yes so today we will create
we got a line answer this time we worry use what we did last time
a we will left
out and violence Park
arses tail and we create last time and compose this time
and yeah literally got aligned using the first and second
violence yes so what I did I created naughty mixdown
of the bases chalice and your loss and and imported
into you new project and their created the two MIDI tracks of the first and
second violins and their program there
the other line but I am yeah it's really up to you how you're doing it you can
also work in that the project
I'm if you want to carefree
to do it the way you like
yes
so to here one quick note before we all get started
a everything I will show here is
I'm cross-platform so am
everything I shoes you I'm here
you can also do and other sequence herself
where's so here we will work in Cubase bad I'm
I won't use any functions that are specific for
and Cubase I am so that
anyone who has a sequencer program should be able to
apply what he sees and learns here to is own
a program and I'm apply the techniques
ship to their own pieces okay good so
let's get started at I'll quickly shows you
which articulations used today so it's the
11 V cue lack and 18v
Kulick on the channel on to
if you're unfamiliar with the whole plane interface YouTube you can also
watch a video
I did and on this
YouTube channel here: where I sure you how to play
yeah interface is organized
good I yes a visa to
articulation that we will Hughes I will also as always
I'm post the two articulation
names and on the Facebook page and also interview description so that you can
yeah refer to it if you
and memorize and later on hywell
yeah you won't be able to memorize because we will have a lot
specific part I'm
yes so let's close this
and the record year
and yeah here we have now here's
or the next town over sustain line with the violence part
left out and here the first violence and second violins
I'm playing got a line like
quickly manage first and second
row order good
so let's have listened to it very quickly and then lets
see how we can make this sound even better
sir
so
what you can see is that actually creating and they got a sound
using at this sound library isn't that complicated
actually say oh and using these
cue like articulations which sure from for quickly cattle
and these articulations give you a very good foundation for your
we gotta carts and sometimes if you have a production were everything
has to be very quickly and they need to sound like very fast
I'm sometimes you can just really go there
and program your part using this
quickly got articulation maybe it's just the velocity or
offset the notes a little bit and then and yet just
send it off to them sometimes ever its yeah really has to be everything
very quickly sometimes it's okay to just do I'm
some small just present and give it
now yeah send it back on sometimes this can work
that here and this would you of course we'll take a look
at I'm hopefully everything
you can due to this they got a line to
yeah get the most out it good yes so the first
thing we will do a is of course
and yeah offsetting the note so first thing
ever times you do when creating I'm
or when you get to the to the part where you
make everything sound time get realistic as good as possible
I'm get first of all is of course every time
get rid of the regularity that
I'm you yeah of start with when composing with sequencer programs
because after we well of use
a great I'm so that you can your program the notes
more quickly and yeah when we now take a look at the violence part here
we see we have the problem at here
there is no its there all the exact same length
as well as here and
this is not get
actually because I am
has already said and with you before
and what makes amore let's say the key
for realistic sounding Books & Music is creating
all the little imperfections that humans are a producing when
playing music because and every yet human
I'm place little bit in perfect
very very slightly but there are some little
imperfections and and throughout the series he will
seeger everything you can do to
I'm simulate these imperfections and we will maybe
also yet see what imperfections
actually our happening so it can be quite interesting at also to
and yeah study it from this perspective
so and yes and the first thing now as a
let's meet simply bigger so that you can see better I'm
yeah I get rid of all the regularities said what we're going to do
as turn off your great I'm or snapping functions
I'm whoever is called in your sequencer I'm
and then start I'll just
adjusting the starting and points
XO
only slide changes this is very very important
and don't over do it if you overdo it
then it can your me at the specific point if you overdo it
it sounds as if the yes here
string players aren't very good players from
which yet try try trying to play the phrase bad and
yeah don't really get the
measure a ride and it get can sound
really bad and so no
don't overdo it maybe yeah to
something like this you should consider something like
like days or so as the real maximum
I am
but don't go over arranged of
yeah this
we will we we'll see later on if this
as maybe two already to match and
always test of course and
has your yeah may know it from all
other tasks in music we often hear and phrases
over and over again until yeah we
don't wanna hear it am anymore
okay so oh yeah that's close the first well as part
and care to its second violins part and he will do the same thing
us well you know just no lengths
and I'm yet what is
also important don't offset the know it's
the same way and at the other
I'm part because when you're offset the notes here
the same way you do with the first violins part
that and they know it's are and
yeah the same again and it's another type of regularity than
and procuring so
what you can do is and yet check
the other parts for example I show you
now what I mean and if you take a look at this note here
we just extended little bit over
its links at the end and at their
starts here I'm so now we were we are going to take a look we'll
memorize the notice the e3 so we go to the first violins Park
and see and here we see we altered to note here as well liked this
I'm so what we will do then it's now
decrease the length here and adjust the notes like
this so now they are and differently offset
and that's much better than offsetting them the same way
as the other ones
so make slightly slight adjustments to them XO
may be here and this should
p it let's have a listen
to the pick out a line now again with our first
adjustments
sir
Antti you may already here
the point where we overdid it a little bit and business
as this point here I'm here
the offsetting is too much
when we return listen to this party once again we
and noticed that here it sounds more as if to to know it's
and are yeah compose to
really come one after each other so we'll take a look listen to this here
soon you
here and its gather and no its are not
I'm playing somewhat simultaneously
I'm there too much of said sell its take a quick look
how weird did it here so we will take a look at the starting position that this
time am in this case so we see that we of such a 10 notes in this way
here let's close this part and cute
the second violence and their we see that
here the note lengths are really
really I'm guessed wrong
adjusted when some something like
so looks the first balanced part so what we'll do now is
week Ln and adjust them more like so
so that we now have I'm that such huge
difference anymore so let's
check this part out
and we see its still little bit
too much offset so we just that again and listen and
sir
year we may hear it as well we have few the same problem
so we just that you can some so
now here at the end we also had little bit too much
offset let's do it again this is something with which
we can work gets another first thing is down we got red
of the regularity how we will start using
the velocity control because here with I'm
yet the velocity we can adjust the strength of
each note what we would do right now is using the love with with the city giving
our Caroline its a.m. basic
I'm shape so it's I'm
yet rough for let's put it may be like this
I'm or something like draft
and then later on using automation we will really really shape that he got a
line and give it
it's true life so
I'm of course when you start shaping their they got a line
you should think about the character of the line how it should
I'm be so
we go into first balanced Park and
I thought that my leg out a line work term
yes start the low
then paid and become a high point here
then fall again a little bit like little bro like so and then
come back hi again so what we'll do now is then go in and
start maybe someone like here
so
I'm what we can do it and
at this point of course is for example here now and
two more cam really here
what we're doing here as mute the second violence
close this and mute the second violence and now we can hear much better the
changes we doing
first mom's part and then later on my free
got the velocity changes I'm as we want to st. that
rough shape then we will just I'm yeah
apply the settings with the two first downs part 2m
the second maybe
I will rename this point you to second violins
so that Jones get confused
later on not like this
second by its good yes and now let's listen to the first balance
you to the second violins so now we should on the here
mixdown and first
and this is also something we may notice here when
listening to this part here at the and it may sound
little bit as as if the last note
guys coming too quick when we listened to to this party
can p maybe
that this no tears start little bit too early so now I am
yeah we have several options we can of course
suggested but I'm in this case we should
every time yet just check back the whole makes and see if it is noticeable
and actually I didn't notice it
when we hear the second violence as well so
I won't I'm changes at this
point because in the final mix we don't he read so I'm not spending
time to it's just that they're I'm to just see that we've
want your in the final makes
so we won't the yeah we 2012 do
more work than we need
so its Zuma that we had all across the screen
yes so actually I found
idk quite K maybe we can
make it to strong
here let's have listening again
p
yeah this is quite okay as I already said
its only rough shape here I
cat wouldn't send this version 2
client I'm because
your now its to rafter
to you yeah it's more like jumps from
one loud mislabeled but
actually it's like I am yeah one thing in
so what I then do you is
I don't go and and Jack copied exactly la city settings
instead I is somehow
memorize the Shea you we have here
and apply it to the
other part so we going to send mines card
and I it
so that we have somewhat the same
shape but not the same velocity settings this
also helps yeah creating the realism because
there we also have little imperfections with don't
and using the same velocity amounts use
make them a little bit different this I'm always helps
I'm if you are parts which are playing the same
know it's I'm we will deal with this
later later on of course another we do this we will combine difference when
group together
but for your compositions I'm
you can always keep in mind when you have a different instrument group
playing the same notes
all ways give or every group
slightly and gather velocity
values its sometimes just subtle
um yeah difference but
it has creating the realism so
yeah now we have our second violins said
up we close it and and mute them
and now listen to everything now with are
yeah velocity changes kept getting its
listen sir
and now I'm
I noticed that this
part here where the note yeah comes to
early you you definitely hear it a little bit in the final mix so
I'm we go to this part and
just a little bit so we go back with offsetting
bit I'm imbalance
first violence I'm cerro
yet this is an example 10
your perfect some love over doing
do okay
seller now we are just that little bit and
close it again and yet have a listen and see if it's not
it and see if it is better
now some we have to test it
said and now we go into it then not
to the either direction
movie more to
right see K
now its to write lace
and now let's see if we can give it
some more realism and see how
far we can go with offsetting I think
this is quite right I'm so for this tutorial it's okay
and of course if you're doing your own thing so I'm yeah
you can spent lot lot more time on
alt tweaking this little of that notes and
a real and I'll to recommend spending time on this
because the more time you spend the better it will be at the end who
hey now
IOM hmm before we will really start with
on automation we will do something else
and it's a little I'm trick
um I found and
let's take a look
at this line and we can see you
and from the graphical representation that we have
if you and jumps in this
and melody so here we have this huge jump down to business here
and then we have to show from this note to this note
right here its I think it's the same as this one:
and and we also have a little bit gem from this no to this node
I'm it's not at that big of course from this phone to this one
I'm but its littlejohn and
to yeah have make it sound a little bit better we will
a yes slur I'm the and
point of this note little bit an
said I what I would show you here is
a little work around because restraint reason and hear the performance
I'm scripts aren't working the way there
yet supposed to because
I'm normally you would use at specific points
the poor demand or performance group which create space
I'm slivers but for strange reason it didn't really work for me
and doesn't really sound that good so Am
yeah IFE search for another way and
I mmm used now the pitch bend
function thank you have
sequencer so and we'll go to the first violence
mmm we're we're
use it the
here here as well maybe we don't
actually need its not that much maybe a.m.
we'll dupage and here as well where we'll create definitely one
as from this one too this on right here go see it's a fifth
down ok that's right
so yet what we'll do then as change
are controlled from velocity to pitch bend
in your sequencer and then now we'll create a little
slur from here today so I'm
life I'm right the middle here
is Sam yet the normal pitch of the note so
week go in here and draw
and little slur don't have to be that
perfect maybe like so and at this point also evert am just experiment with
how much slower and you need and ok
we always have to make sure that at the point within you know it
starts our pitch bend stops
goes up can
cause who no no no
I'm right use
like so cause otherwise
this note will get a slower as well and sometimes
you're doing and you yeah I can experiment with
also giving this note a little slower from
give it down band little bit
that I am now let's haven't listened to incent cm
howitzer sir
weevil mute the second violins to hear the first one
play
yeah and it's mmm not quite right I think
I think it starts to early and it slipped too much so we will delete
everything again
and maybe chiste
here and also sloughed land
and here
leeson p
and I think this is paramount
it's okay it's a slight slur I'm
p
it's not that noticeable but it
helps make their sound better
we can make it little bit
real an act and
much love lot so
and that's here p
passing this is OK doing it like this
and we can experiment maybe if am
giving here the note a little band
up and
down think so see
helps little bird
not bad p
I think we should leave it like this
foreign I'm for the moment and we go here to this
jam and we will slur it from here
so who I see something that's not nice
nests here and there you so which picture
X
but to done
K an
here apps
them Excel and
once spurred
so
and let's have a listen how it sounds like iron s
here we got really good transition
from this to this sets now
not huge jump anymore it sounds more organic
this is how which can
work and so sometimes if you see that it works
so well feel free to also
slur the other one slightly
so always of course take a look
which direction you were slurring them
and just pitch bend accordingly
and
tank
mind
came so now like this
Wii U made it a little bit more ganic we will do each year as well
I saw worked pretty nice
here
later we'll also see
how we can use pitch bend questions
to and eliminate
little bit mechanical feel
or when we have many notes and quick
repetition then pitchman also help us to
him excuse me will also help us
to yeah make it so
better so now let's listen to our first violins part
with altered pitch bend and see how it sounds like
p
menacing it's quite okay like this so now
let's try to see if it works with copying our pitch
doubt here to our second vans help guide
works mitzi I
it worked now
have to you find
third starting point hope for
works yes let's
see and maybe let's
see
much for thing any
start here yeah
okay so now let's on with the second violence
and have a it way Sep and
let's listen to our Caroline right now
sir
and it sounds much
better I'll here is something
wrong and hear the pitch bend Dada isn't that the right
spot I see yet
okay so the cop didn't from
didn't work that well so at this point it may be easier
and fast to droid
and my hand again restraint reason
I don't know out hair
over-hyped you
K oh yeah now I know what's the problem
we of said that the notes of court of course
so of course the pitch bend gotta has to be
adjusted accordingly but a.m. this is not
problem we will adjust them
according so take
office letter here you
here
here years
next one and this is sometimes
little the pain in the ass in kick
let's third like this Turner
to upset that everything and you see it's
little bit time consuming
bad I just 12 that you can see
how I'm changing it so basically
yeah as you
see what I'm doing chest placing the pitch bend
at the exact point where the notes are
changing so that we have always this change here
that this line lines up with I'm
note change some
what okay so now I'm lights see here
here we can see no pitch bend data now
matches treating us with our notes and now we should have
better transition sir
yes and I think this sounds much better
okay I'm yes
so let's recap what
it we get got rid of all regularity offset the notes
and then at it in the pitch bend to a.m.
make the leak out a little bit better true creativity
slurs that are typical for string players when they are
yeah playing between different know it especially when they have such huge
and jams that I'm yeah sometimes
create little slivers because of the finger sliding
I'm so we created this imperfection and
now let's give the melody its shape with setting up the automation could
track so I will set up ultimate
automation tracks for each track using
expression control so we will use to control code CC
have fun so at this point and
take a look and your sequencer
how automation yeah how your
sequencer and fast this
automation of this control changes I did two videos
I'm where I showed how to on
create automation crew
its here on
had to get the automations for on
how to do it in
for two loops and also how to do it
and in Cubase
for the other sequencers you have to see how
do it I'm yes and no I
set it up expression automations
quickly and
yeah now let's music's the second violins
and start with the first its so
and now and we can't recruit
me a critical point because now we will
we want with automating
the control change CC 11
the expression we want to now and yak if
the melody its I'm yet true
shape show so give it the expression
string player yeah I would give and
this sequence so now
I'm what you should do
and it always helped me a lot to
cat other shape somewhat right is
a.m. it may sound a bit strange in the beginning but it really helps
and what should do is and
take a moment and try
imagine being a string players so imagine sitting in the orchestra with
the notes and your violin in New
and tried to with
think as you woot Lavis
phrase it may be a little it well
actually it is quite strange but to do this
but for me it I'm yeah it helped me a lot
am into further
and yeah get a feeling how string players are
laying different phrases it always helps of course to
yet listen to music where you hear string so
yet listen to classical music or new movie soundtracks everywhere
he's when I have today written now
sartre my voice okay
yes so listen to music where you
hero much just rings and its yet
you can learn a lot from just listening its all race also something
and I'm doing thereafter get
and mmm yes so this
yeah next step would be then and yet maybe yep
lay the the phrase in the loop and
try experimenting little bit with and expression until you find shape
that you like and we won't do it and that much detail in this
we do here because then it would take maybe hours
we don't want that on so
I will go through this very quickly
we all ready gave it to
basic shape so well start with the basic value here of expression
the way it went through and then we will are ready to %um
the recording I think
just because we don't want to you spend too much time this it's
every time it's a demonstration now how you're doing it and then later on when
you're doing it
yourself has always I'm yet
tweak it a lot and listen to it again and again and again
and to get it
as perfect ass possible
so I will yeah go through it once when then
record it okay cell
its good start
p
it's not that easy
3 not that easy but we will do it
0 %ah there was really intelligent
I controlled expression of a second violent of course
that you don't yet here really a difference
so let's do it again with the ride expression
first its of
p
okay something like this
and let's just record it
p
Excel than
let's youth the first violence and
let's recall to automation further second violence
apps start get course
let's see
I don't think there was very good let's listen to the whole thing
and then make some adjustments
sir
hey
so here other control koreans
and its here I ok
turn off the grid of course here I went
too far down so we have to just said
it always really a of course every time
it needs to be natural seven its lesson
sir
also check back the other automation to see what you did there
and you often you can
somehow little bit
copy because
we won't
live at the same movement in both lines of course
because they're actually playing the same melody so they should be pretty
much the same of course
and the same as with the velocity thing I talked about
little rile ago and
don't give it the same values here as well you lead
beat down this is OK
good just lets listening again and see
may be here that wouldn't be too much
let's see sir
you have and what you might notice all
also again is Sen
yeah that maybe we have to now
go back again with offsetting
and term you re doing
some slide things maybe
because now when we listen to it it sounds little bit
yet too much offset so we've
listen to the phrase for the powers and then see which parts are too much
sir
and its this part
here the few
last know it's let's bring them little bit
more too thick to rate
back to create I'm again not
much of course now
fan of quarrels and just pitch bend accordingly so
shifted back to
spot where at the notes
changing
to you get some right
make Richmond right
you well
okay
and now lets see and here at this point
and the velocity was little bit too strong so we go
to our streams and
cafeteria love it maybe cutie little bit more
sclerosis discovered the first ones
choose Violi in
for highly he's that law City
him and it's just a little bit
and listen again and see if it's not better
sir
and business quiet ok some maybe we'll take a look at this one here where we
now
look at the graphical representation we can see now that these
know it's are very very yeah
now starting at nearly the exact same
time so we'll offset them
here a little bit too break his little bit up
sir
mmm I'm a little bit unsure about this part
here it's a little bit to much
offset I think I am
can see it's very fast
you can overdo the offsetting
very very fast
so him
let's get back and
or more to the great again or more pic
to create just everything accordingly
X
here as well
make it
or can to create said no and yes this is
again you can see how fast you can overdo it with offsetting
which
and okay
then we
ish which the nearly at
the and of
22 re okay
so now let's listen to everything once again and see if we can leave it
lactis for them up
likes
sir
Yap its okay and you can see this part here at the and
can cause on some problems very quickly
and here I see we didn't
chest pitch and accordingly it can cause
very yeah fast some problems
because now you win be a maybe have
made it to regular again so that it's not that nice
yes so
this and this point then really comes tweaking part
see take a look
that term the transitions are
batter on yeah and
yes start I'm tweaking
and fine-tuning but we won't do this
and this video because this would take too long and would
worry a little bit and the video is already very long
and yeah so we
can call this I'm
finished so
yeah thats actually how you create
early got a line using symphonic orchestra and what you can do
to the make it yes how much better so
yeah quick recap I am
first of all offsetting the notes to get rid of the regularity
then using for the velocity control to get
gif the melody and the basic shape then
using at pitch band and you're making their traditions between the different
notes
especially John's I'm more organic
and then at the end as using automation to give
the matter the and its true and
yeah shape and then
you would start the fine-tuning face
okay yes so that's it for this
video I hope you like it and and
yeah feel free if you like the videos
to subscribe to virtual music tutorials
and also and
yeah if you want to like the Facebook page
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and and yeah as always feedback and critic
put it in the yeah commentary sect in the comments section
of the video or on the Facebook page or also
write the email I'd VM tutorials lifeguard
and de- yeah
so last iced it says
says goodbye and hopefully I see you in the next video
and have fun composing
and of course and I will then also provide
and the media file for this and
we got a line so that you can use takes act
line we did you okay so
hope this to yeah hopefully see you in the next video
goodbye and have fun compelling