the decision to record live orchestra for film music is never a question of if it will sound better or not, it's a given, even when talking to studio execs who know nothing about music or recording. But all of us who do this day in and day out can instantly hear the difference between the midi mock ups and the live recordings. The problem is I cannot share the mockups, nor could anyone else who actually works on projects like these. I also have the finished live recordings that are available to the public. I have midi mockups staring at me right now from Bruce Broughton, Jim Dooley, Jack Wall, Todd Haberman, Peter Bateman, etc. and that is the problem that all of us run into. I am not LEGALLY allowed to distribute anything except for what the company who hires me releases publicly. When I'm done editing and mixing, we can compare the midi mock ups to the live recordings and see if we hear a difference.Īhhhhh. I have all the midi mockups for 3 albums that I will be recording at Abbey Road in about 4 weeks with an 80 person live orchestra. Can you post some real-orchestra audio that demonstrates your point?I have examples of it.
I've worked with real orchestras for decades though, and I don't agree. But I just don't buy that missing "air" is an important factor for listeners.
If people want to complain how difficult and tedious orchestral libraries are to program, I'm on board with that. On the contrary, many experienced listeners accused that guy of using a real orchestra, which he later pretty-much disproved.
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The YouTube comments aren't full of people saying "something sounds wrong - there's no AIR in this music". I don't think that factor will stop listeners from liking orchestral libraries.
And I'm sure the same thing happens with a full orchestra but where we differ is, in the case of an orchestra, I don't believe the sympathetic vibrations are important to the listener. I play guitar, I can hear open strings vibrate sympathetically when they pick up energy from the other strings. Those stimulated harmonics will blend with the track.I do agree with all you say here. Real stringed instruments (and their resonant wood bodies) alone will pickup sympathetic vibrations from surrounding instruments, stimulating harmonics, which a sample library would be incapable of doing.įor example: Tune an acoustic guitar to an open G chord, have any other instrument (or vocalist) nearby play (sing) some melody/thing in the key of G, mic the acoustic guitar and record it with the "main" instrument.
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