Hi there, Tom Player here – it’s been a while since my last post! This is the first part in a small series of blog posts I’ll make about the real-world differences between orchestral mockups (or synth orchestras) versus real orchestras. As a composer who is fortunate to work regularly with live orchestras, I’ll try to help show the difference from a decent demo recording, to a mixed and mastered finished recording.
For me, undoubtedly the ‘highlight of the job’ is getting to work with live players. There’s nothing like the moment at the beginning of a session you hear the first note, and suddenly your work is brought to life by an ensemble of talented players. You can breathe! And then the rest of the hard work starts. :)
I hear lots of sample mockups, and undoubtedly they are getting better – but there really is something irreplaceable about a live orchestral performance, which to me will always be preferable. For one, there is the sound – but it stretches further than this, with the psychology of writing better music once you know it’s going to be played live, and so many other factors. In my first example – I’m taking a very simple opening to a track of mine titled “Beckoning”, from the album “Resonance Theory“. It’s the intro and has simple gesture for the Celli & Viola.
First, the synth – then the live orchestra. The orchestra in this example was the English Session Orchestra – approx 70 players, recorded at AIR Lyndhurst. It’s a simple line, recorded in isolation. This is probably one of the hardest tasks for a convincing midi demo… simplicity in isolation. In the real recording, the orchestra breathes as one. Literally – you can hear the breaths as the leaders of each section signal to the rest of the players to come in.
The sound seems to feel homogenous, like one gesture – rather than layers of separate sounds. There is no ‘organ-like’ overlap of the notes from artificial reverb (in fact, no artificial reverb at all was used on the live mix, it’s purely the sound of players in the room). The sound is richer, deeper and alive with feeling. The synth version feels flat and lifeless.
Later on in the example, the lines are embellished with harmony and soft brass. The clearest difference here is at the end – where the cellos take a descending arpeggiated line. They clearly cut through the background texture – without playing too loudly, whereas the samples don’t cut through in the same way. In general terms, there seems to be much more air and high-end excitation in the live recording too.
Live Orchestra 1 – Synth Orchestra 0.
Don’t forget, if you manage to use an orchestra, you’re supporting your friends and colleagues, as well as getting a better product. And you’ll have some incredible memories to go with your job. So… when the opportunity presents itself, call your fixer (or email me for help) and get writing!! Oh, and if you’re a great programmer, I invite you to mock-up better than me. Most of these demos were done knowing they would be replaced, but if you’re great at it – there might be a job in it for you! Stay tuned for part 2.
I’ve been approached by many mock-up pros, and Pedro Almeida has kindly offered to re-mock this section.
Here it is