Download Acoustic and MIDI Orchestration for the Contemporary by Andrea Pejrolo, Richard DeRosa PDF
By Andrea Pejrolo, Richard DeRosa
Get entire counsel on either conventional orchestration and sleek construction options with this distinctive publication. With powerful causes and transparent illustrations, you'll how to combine the conventional method of orchestration with the fashionable sequencing options and instruments to be had. you will find find out how to bridge the 2 methods with a purpose to increase your ultimate production.
The accompanying CD features a finished and wide array of examples, templates and sounds to permit you to listen to the concepts in the book.
By protecting either techniques, this e-book presents a accomplished and reliable studying event that would boost your abilities and turn out super aggressive within the track creation company.
Read Online or Download Acoustic and MIDI Orchestration for the Contemporary Composer: A Practical Guide to Writing and Sequencing for the Studio Orchestra PDF
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Extra resources for Acoustic and MIDI Orchestration for the Contemporary Composer: A Practical Guide to Writing and Sequencing for the Studio Orchestra
3 Keyboards Piano: The most classic of the keyboards. A distinction should be made between the grand piano and the upright piano. For beauty, the grand is better, but the upright can also be used, especially for a honky-tonk or saloon-style piano effect. Rhodes electric: A unique sound offering a bright twinkle of sound in the higher register as well as a thick, lush texture in its middle register. ) This sound became very popular in the 1970s. Since then, many other electric pianos have been based on the Rhodes sound, offering slight variations and characteristics.
There are still a few organists who are so dedicated that they will perform in live situations with this instrument (it is quite large and difficult to transport) but, for convenience, there are many smaller electric keyboards that, with the best of intentions, attempt to capture the sound of this wonderful instrument. Of course, for most keyboardists who are non-organists, this is also a welcome opportunity regarding the technique of performance, since the pedals and multiple keyboard decks are absent.
This is particularly indicated when sequencing acoustic instruments where different attack values can help you re-create more natural and realistic results. We will discuss specific techniques related to the practical applications of controllers later in this book. Sound controller 5—brightness (CC#74): CC#74 controls the cutoff frequency of the filter for a given patch and MIDI channel. By changing the cutoff frequency you can easily control the brightness of a patch without having to tinker with the MIDI device directly.