26
Feb

VSL Big Bang Orchestra: Capricorn – Mission Possible Walkthrough


Hi, this is Fabio Amurri, and this is gonna
be a short walkthrough about the demo I have done for Big Bang Orchestra: Capricorn,
that is the last chapter released for the Big Bang Orchestra Series. This
chapter is about ready-to-use orchestral phrases, and we’re talking about hundreds
of combineable themes played by a 70 piece orchestra, that you can play
with to achieve very quickly effective a big sounding arrangements. In fact, as you
can see in this project, I just used four instances of the Synchron Player: Two of them are
for the Capricorn patches while the other two are for the Big Bang Orchestra FREE
version. So here is how the new Capricorn patches
looks like, and the first thing I’ve done, just for my personal preference, was to
change the CC control assigned to the velocity crossfade from CC1 to CC2,
and then I selected what is my favorite mixer preset for the Big Bang
Orchestra, and that’s usually the “classic big” because, yeah, how the name suggests,
it is big but you still have a lot of details and that’s what I wanted for my
action cue. Other few tweaks I have done for the preset was to turn off the
internal synchron player reverb, just because I want to play later with one of my
favorite preset in MIRacle (a VSL reverb that comes with MIR PRO) while keeping on the internal saturation that
sounds really really cool. And I activated the spot mics for the trumpets,
because I wanted that section to stand out more.
And here we come to the first tip I would like to give you for Capricorn, but
that applies to all chapters, especially Black Eye and Andromeda: Play
with the spot mics and also you can solo or mute microphones and you will see
that you’re gonna achieve, like, really different results, and you can still
sculpture your own sound. So let’s go to the intro that is made mainly out
of a single pattern. And another tip I can give here is, like, use hard quantizing
for Capricorn. It’s something I usually never do with orchestral libraries,
because, as you know, you need to play samples a bit earlier in order to to
have them on the beat, but here we’re talking about long phrases recorded by a
real orchestra so all the musicality, all the realism is there in those recordings,
and you just need to hard-quantize the beginning
and most of the time the end so that you can blend perfectly and move from a
pattern to another. And I just needed to automate the CC2, that is controlling
the velocity crossfade to control the dynamic, and you will hear how new
sections like the brass enters midway through, and I also program just at the
beginning the CC11 controlling the volume, so to achieve extra soft attack.
Let’s play: Okay, let’s move now on the next section
to see how it works combining the main patterns with the high and low riffs.
Everything happens in the same synchron player instance, so it’s super easy. you
select through key-switches which is the high, the low and the main riffs that you want
to play, including selecting tacet (silence), if you want the low or the high riffs to
be silent. As you see, you can start different notes
to achieve, like, sort of chord pattern, and maybe sometimes you may want to go
in the mixer and go down with the room mics, while having more of the spot, so
that the the final result is more balanced and clean. Okay, here is the
full arrangement including the patches from the free version of Big Bang
Orchestra, just some staccatos, long notes and swells to complete the arrangement
and help the transitions. Again, you can see how simple it looks, how easy it is to
program, yet how big and complex it is gonna sound. I hope you enjoyed the video, and
thank you so much for your attention!

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