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Producing an Epic String Arrangement from Score

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21 Videos | Length: 3hr 30min 29sec
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Sample this tutorial...
  • image description

    Introduction (3:48)


  • image description

    The Game Plan (11:53)


  • image description

    Notation Workflow Tips & Best Practices (10:33)


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    Notion 101 For Producers (11:17)


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    MIDI & Notation Software (7:41)


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    Importing MusicXML into Notion (10:36)


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    Importing & Attaching Audio in Notion (12:24)


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    Adding 3rd Party Virtual Instruments & Plug-In (10:49)


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    Articulations vs Playing Techniques (4:05)


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    Creating a Ruleset in Notion (13:51)


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    Adding Humanization in Notion (15:51)


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    Sending the Score to Studio One (3:19)


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    Tweaking the Rough Mix (5:11)


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    Editing the Keyswitches (15:37)


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    Adjusting the Velocities (14:09)


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    Layering & Adding Additional Virtual Instruments (13:58)


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    Creating Huge Sounds from Individual MIDI Parts (9:35)


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    Dealing with Trills (15:58)


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    Expression & Modulation for Added Realism (9:09)


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    Logic Pro X Workflow (4:29)


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    Pro Tools Workflow (6:16)


Studio guru Marcus Huyskens gives you an in-depth look at how to take a string arrangement composed in notation software and bring it to life inside your DAW using virtual instruments and more. Shot with Presonus Studio One and Notion, the ideas can also be applied to any DAW and score software!

Marcus begins by welcoming you and discusses the intent behind the series, and reveals the track that will be featured. You'll then get workflow tips and suggestions that will help when dealing with notation based score in your productions.

Next, Marcus shows how to get the MIDI data from your notation software into your DAW, as well as how to import a MusicXML file created by another notation program and tweak it further. Marcus then imports the audio mix into Notion to develop the score further, and adds 3rd party virtual instruments for further sonic choices.

Moving on, you'll explore articulations and playing techniques and how they affect keyswitches, followed by how to add humanization to your score, and see how to export the score along with its virtual instruments into the DAW session.

Mixing is next, and Marcus shows how to set up the rough mix as well as basic routing and effects, and then shows how to adjust velocities to create a realistic balance between the dynamics of the virtual instruments and the rest of your production.

You'll also see how to layer and add additional VIs, making parts sound huge by creating orchestral layers, using expression and modulation continuous controllers for added realism, and lastly, videos on using Logic Pro X and Pro Tools stock virtual instruments when working with score.

See the individual tutorial descriptions for more info. If you want to learn about taking a string arrangement that was recorded in a notation software program and moving it into your DAW for the final production, this is the series to watch... Checkout "Producing an Epic String Arrangement from Score" today!


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Johnsrev
Submitted 6 months ago

Excellent Course

This course shows some very interesting workflows, as well as, a more advanced use of Notion 6 as it relates to integration with Studio One 3. The only aspect that bothered me as a composer, was the VST instantiation which used all treble clefs. The alto and bass clefs which were correctly translated from the Sibelius MusicXML file into Notion 6 were somehow changed when the Kontakt 5 was used instead of the stock sounds in Notion. The result was a very sloppy score. (This may sound like nitpicking, but it is elementary in score notation to use the proper clefs for instruments that play in the alto and bass clefs.) Nevertheless, the music is beautiful, and the recorded performances were top notch! The engineering was professional as well. I would really like to purchase the final product. The artist has written a very inspiring composition. Bravo!!! Thank you Groove 3 for offering this excellent course.

I am a: Professional

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1. When did you start dabbling in music?

I started playing piano at around 5 years old, after which point I switched to the Guitar at around age 10. I was pretty lucky, as my parents had quite a nice selection of records, spanning across multiple genres, that I could listen too. I would sit by the record player with headphones on, and close my eyes, and imagine myself playing along with them. I listened to much "older" music than the current music my age group was listening to. I continued to play the guitar and by 16, had developed some pretty decent chops, and was playing lots of local jazz clubs & restaurants with a couple friends. However after the birth of my first son, I took a break from gigging, and made the transition to the other side of the glass. However, I still rely on, and draw upon my abilities as a musician all the time, as I feel that an engineer, producer, or mixer, with a decent understanding of music, tempo, groove, theory, and genres, is a step ahead of the game.

2. What training have you had?

Pretty much 23 years of locking myself in a chair, and working diligently on my craft. Over the years, Ive also had had the great pleasure of working with other fantastic engineers, being able to pick their brains, observe and sponge in all the information that they offered. I still maintain, that you can learn more from a couple weeks, or even a couple days working with a seasoned pro, then you can in a year or 2 of school. Although I was set on going to audio engineering for school, my parents insisted on me going to school for business marketing, which didn't really work out, as I spent most of my time cutting class and going to my older sisters media arts classes, offering up myself as an actor, or voice over actor, (whatever they needed) for all of their student productions, so that I could learn more about audio/video production. It wasn't quite an audio engineering per se, but it was a close second!

Although Ive never had any formal education, I can recall my early "lessons" from my father, of cutting tape, and working with analogue gear. Being given tasks, like recording music from a record to tape, then cutting the tape, to make edits. The process of gain staging, EQ, fader riding, compression, adding reverb, etc etc. Also most importantly, my lessons in understanding the psychology behind getting the best performance from your artist/talent, which I was able to comprehend, and which I still keep with me, and use to this day.

3. When did you get into recording?

By about 11 years old, after listening to countless records in awe, I became interested, (or maybe even obsessed) with the whole recording process. When I badgered my father enough, he eventually dusted off his old TEAC 3340 reel to reel, an old mixer, and a spring reverb for me, that had been meticulously stored and well taken care of. Needless to say, It was pretty much game over from that point on. I fell in love with the notion of being able to capture a moment in time, a performance of art, and preserving it. In the very beginning, I spent most of my time re-recording old records, and singing and playing over top while tracking them, playing around with different microphones, then began a crash course in the basics.

In a sense I was very fortunate, as in addition to being a producer/camera man, my father was a pretty savvy audio engineer, who used to record/mix the music for all his documentaries / productions he worked on back in the day. So, at a very young age, & before the times of the “Mbox" and portable interfaces, little did I know, that I was receiving some very thorough training that became the foundation of my craft. As i grew more comfortable with the gear, I started inviting other children over to my "studio" (parents living room-LoL) who were in bands, so that I could record them. My parents were pretty supportive, often allowing me to use this area, and make noise to do something I enjoyed.

Fast forward a couple years to high school, As my band was looking to get some gigs, I was able to record our own demo's to hand out to clients, and continued to work on my craft, eventually opening up my first studio in 2002. From there, everything else is pretty much history.

4. People you have worked with/for?

The majority of my work has been on the Indi scene music wise, working with local talent, and also internationally as a mixer for various clients in different genres. In 2010/2011 I shifted my efforts, and began working on ad spots, both writing, and recording/mixing with different composers, which eventually brought me down the path of actually developing my own set of sample libraries for composers to use in music production, and television/film/games. This has really opened up some doors for me and expanded my cliental into areas I would have never imagined. I continue to work with talented artists, and composers on various projects, in addition, I also do some voice over work for different audio brands.

5. Why are you so good at training people?

Tough one to answer, but, i'd like to think that I teach people the way that I prefer to be taught. Which is building a foundation of knowledge, then adding to it in stages, with clear steps. I try to stay on point, and simplify a process down to its core level. I find that in general, there are a lot of tutorials that leave you scratching your head sometimes. I try to avoid that. Ive often had friends say to me, that I simplify things, so if thats the case, then I hope I can continue to do so.

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Producing an Epic String Arrangement from Score is rated 5.0 out of 5 by 1.
Rated 5.0 out of 5 by from Excellent Course This course shows some very interesting workflows, as well as, a more advanced use of Notion 6 as it relates to integration with Studio One 3. The only aspect that bothered me as a composer, was the VST instantiation which used all treble clefs. The alto and bass clefs which were correctly translated from the Sibelius MusicXML file into Notion 6 were somehow changed when the Kontakt 5 was used instead of the stock sounds in Notion. The result was a very sloppy score. (This may sound like nitpicking, but it is elementary in score notation to use the proper clefs for instruments that play in the alto and bass clefs.) Nevertheless, the music is beautiful, and the recorded performances were top notch! The engineering was professional as well. I would really like to purchase the final product. The artist has written a very inspiring composition. Bravo!!! Thank you Groove 3 for offering this excellent course.
Date published: 2018-01-15
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