MIDI Orchestration Explained®
Chapter 1 : Setup
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7:06 MIDI Orchestration Introduction
Overview of what orchestration is and what will be covered in this video series.
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5:51 Custom MIDI Setup
Discover how to use Logic’s Environment to set up MIDI channel based key switching in order to alter the MIDI channel of incoming notes and trigger different MIDI channels in a multi-timbral software instrument all in real-time from the same track.
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6:34 Traditional MIDI Setups
See how articulation switching is achieved with traditional note based key switching in Kontakt, mod wheel based switching in the EXS24, or with the use of individual instruments.
Chapter 2 : The Solo Instruments
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11:19 The Violin
Discover the world of the violin, including how the instrument is tuned, and some of its various playing articulations and characteristics.
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11:44 The Viola
Explore the colors and characteristics of the viola, a slightly larger throatier darker sounding big brother to the violin. Hear how it sounds alone and in combination with piano and violin together.
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7:17 Cello & Double Bass
Learn about the cello and double bass, and how to get started writing in two and three part counterpoint style.
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12:07 Flute, Piccolo, Oboe & English Horn
Discover the ranges, articulations, and characteristics of the higher ranged instruments in the woodwind family.
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7:23 Clarinets & Bassoon
Learn about the clarinet, bass clarinet, and bassoon and get a feel for the evocative expressive nature some the combined solo woodwinds can create.
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6:48 Trumpet & Trombones
The regal wonders of the brass family are reveled here, first with the trumpet, and then with the trombone and bass trombone.
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6:05 Horn & Tuba
Discover the rich warm versatility of the French Horn and Tuba, and listen to an example of some four part brass choir writing.
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8:04 Untuned Percussion
Explore the world of non-pitched percussion instruments and discover how they can be used to enhance the overall dynamics and accents within your orchestrations.
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7:14 Tuned Percussion
See how some of the tuned instruments in the percussion family, including the timpani drums, glockenspiel, xylophone, marimba, and tubular bells can further expand your orchestrations.
Chapter 3 : Production Techniques
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9:50 Using MIDI Expression
Using MIDI Expression (CC 11) is useful as a means of generating dynamics while leaving the volume (CC 07) unaltered.
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6:02 Attack!
Automating the attack parameter is an effective way to generate swells and crescendos. Expression can be used creatively to construct sforzando style dynamics.
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7:42 Space
Learn to balance and position how close or far various instrument sections are in relation to each other using the channel strip faders and pre-fader sends for reverb.
Chapter 4 : Instrumental Sections
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9:05 The String Section
Explore the setup, placement and writing conventions for the string section as a whole.
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8:45 The Woodwind Section
Learn how the woodwind family works as a section, how to best voice harmonies and blend them with other instruments.
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8:55 The Brass Section
Discover the wide range of melodic, harmonic and rhythmic possibilities the brass section brings to the orchestra.
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8:07 Doubling
Straight unison or octave doubling can become heavy and grey sounding. Learn how some of the alternatives to straight doubling add variety and maintain the listeners interest.
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6:49 Orchestral Accompaniment
Discover some tried and true principles to use when orchestrating to accompany a soloist.
Chapter 5 : Managing MIDI
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6:52 Macro to Micro Sequencing
Explore ways of combining patches, and ways of splitting divisi parts over multiple individual instruments.
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10:58 Micro Sequencing Continued
Discover how note overlaps, release time, bender range, sustain time and region delays all influence the playback of programmed MIDI parts.
Chapter 6 : Motivic Development
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14:54 The Glass Mirror
Understand how to conceptualize a post modern approach to orchestration using principals of minimalism and repetition.
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6:39 Broken Glass
Minimalist concepts of sonic manipulation can be applied at a 'meta' level to the modern DAW by means of plug-ins and automation.
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7:07 Deconstruction to Reconstruction
Explore ways of expanding and elaborating on thematic material using re-harmonization, modulation, and meter change.
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7:48 Modern Harmony
Learn how to re-harmonize melodies using upper extensions, jazz style cadences, bass movement, pedal tones and modal style quartal movement.
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7:53 Repetition & Retrograde Variations
See how to use exact and sequential repetition, retrograde and inversion techniques as tools for motivic development when building orchestrations.
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6:05 Motive-ation!
Explore more techniques of motivic development used to elaborate and vary thematic material.
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7:23 More Thematic Development
Learn how to use rhythmic augmentation and diminution, fragmentation, simplification and modal change as thematic development techniques.
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8:24 Reprise & Coda
Summary of some of the principal concepts discussed throughout the series and concluding thoughts on how to approach orchestration.
Product Overview
Music theory master Eli Krantzberg has heard your requests for an in-depth series all about MIDI orchestration and has delivered big time. This series is designed for those of you who want to create realistic symphony orchestrations using todays awesome symphonic virtual instruments. If you want to compose for film, TV or just to get what's in your head outside for all to hear, this collection is for you.
Eli goes really deep in this offering, starting with MIDI, custom and traditional setups and articulations, solo instrument descriptions and usages, how to create production templates, how to group instruments correctly, working with MIDI layers and splits, all the way to macro and micro sequencing, motivic development, modern harmony, deconstruction and reconstruction and so much more.
If you've ever wanted to get into symphonic writing, this series will prove indispensable. Get ready to write your masterpiece, get MIDI orchestration Explained today.
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Reviews
Submitted 2 months ago
A bit dated but still useful
I see this was created in 2011 so it is somewhat dated but still covers the basics fairly well. Being a Cubase user, the Logic asides are somewhat irrelevant but where necessary I can probably duplicate the intent. I have found several errors and omissions. One is that with the better string libraries, the lowest open note of a string instrument played in legato is (properly) never sounded with vibrato. This is because a real player can't have a finger pressing on the string to make the vibrato effect. Because the string is played open! If one wishes to create a realistic MIDI orchestration, one cannot expect the lowest note of a violin for example to have vibrato sounding in a legato note. Sounds petty but this is an important point to make. Better string libraries actually will have a single sample at this lowest pitch without any vibrato and map it to only that lowest note. Secondly, MIDI Breath Control os CC#02 NOT CC#04...
I am a: Semi-Pro, Musician, Sound for Film/TV, Cubase
Submitted 6 months ago
Eli is the best!! His depth of knowledge is deep and wide.
So many things to learn, so little time. Eli makes it all come together and going back and reviewing these videos over time really solidifies it. I usually have my daw or plugin open and experiment with his ideas as I go.
I am a: Hobbyist
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 7 months ago
Informative!
I am really enjoying this course and though the DAW is an older version, the information is really solid. I would definitely recommend this anyone just getting started with MIDI orchestration.
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 1 year ago
Really outdated I'm afraid...
The Samples, the DAW and the workflow seem quite outdated, which is kind of a shame. Even if there's some terrific information there, this could really use an update.
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 1 year ago
Final Destination
First class course, gets you up and running out of the box, could do with a few support materials...midi, stems etc.
I am a: Hobbyist, Producer, Sound Designer, Sound for Film/TV, Ableton Live, Cubase, Studio One
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 2 years ago
Excellent Course!
I really appreciated the realtime DAW examples and the clarity in the presentation. The segments on motivic development are especially helpful!
I am a: Semi-Pro, Musician, Producer, Cubase
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 2 years ago
Exactly what I needed !
This has upped my producing game; shown me exciting blending techniques that I can pair with my understanding of other genres of music; and is concisely explained. Well done :D
I am a: Student, Hobbyist, Musician, Producer, Beat Maker, Ableton Live
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 2 years ago
Excellent1
EXCELLENT!
I am a: Producer, Audio Engineer, Ableton Live, Cubase, Logic Pro, Pro Tools, Studio One
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 2 years ago
Very well explained from midi to music
I really like mr. Eli K.'s Videos. Lots of valuable infos in each and every sentence. Also very precise verbally. Definately worth the €.
I am a: Professional, Musician, Sound for Film/TV, Logic Pro
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 2 years ago
Amazing content!
Thanks for sharing this acknowledgment! This is priceless.
I am a: Hobbyist, Semi-Pro, Professional, Musician, Producer, Audio Engineer, Sound Designer, Mastering Facility, Reaper
Ease of Use Quality of Videos Value of Training Access to Videos
Reviews
Submitted 2 months ago
A bit dated but still useful
I see this was created in 2011 so it is somewhat dated but still covers the basics fairly well. Being a Cubase user, the Logic asides are somewhat irrelevant but where necessary I can probably duplicate the intent. I have found several errors and omissions. One is that with the better string libraries, the lowest open note of a string instrument played in legato is (properly) never sounded with vibrato. This is because a real player can't have a finger pressing on the string to make the vibrato effect. Because the string is played open! If one wishes to create a realistic MIDI orchestration, one cannot expect the lowest note of a violin for example to have vibrato sounding in a legato note. Sounds petty but this is an important point to make. Better string libraries actually will have a single sample at this lowest pitch without any vibrato and map it to only that lowest note. Secondly, MIDI Breath Control os CC#02 NOT CC#04...
I am a: Semi-Pro, Musician, Sound for Film/TV, Cubase
Submitted 6 months ago
Eli is the best!! His depth of knowledge is deep and wide.
So many things to learn, so little time. Eli makes it all come together and going back and reviewing these videos over time really solidifies it. I usually have my daw or plugin open and experiment with his ideas as I go.
I am a: Hobbyist
Submitted 7 months ago
Informative!
I am really enjoying this course and though the DAW is an older version, the information is really solid. I would definitely recommend this anyone just getting started with MIDI orchestration.
Submitted 1 year ago
Really outdated I'm afraid...
The Samples, the DAW and the workflow seem quite outdated, which is kind of a shame. Even if there's some terrific information there, this could really use an update.
Submitted 1 year ago
Final Destination
First class course, gets you up and running out of the box, could do with a few support materials...midi, stems etc.
I am a: Hobbyist, Producer, Sound Designer, Sound for Film/TV, Ableton Live, Cubase, Studio One
Submitted 2 years ago
Excellent Course!
I really appreciated the realtime DAW examples and the clarity in the presentation. The segments on motivic development are especially helpful!
I am a: Semi-Pro, Musician, Producer, Cubase
Submitted 2 years ago
Exactly what I needed !
This has upped my producing game; shown me exciting blending techniques that I can pair with my understanding of other genres of music; and is concisely explained. Well done :D
I am a: Student, Hobbyist, Musician, Producer, Beat Maker, Ableton Live
Submitted 2 years ago
Excellent1
EXCELLENT!
I am a: Producer, Audio Engineer, Ableton Live, Cubase, Logic Pro, Pro Tools, Studio One
Submitted 2 years ago
Very well explained from midi to music
I really like mr. Eli K.'s Videos. Lots of valuable infos in each and every sentence. Also very precise verbally. Definately worth the €.
I am a: Professional, Musician, Sound for Film/TV, Logic Pro
Submitted 2 years ago
Amazing content!
Thanks for sharing this acknowledgment! This is priceless.
I am a: Hobbyist, Semi-Pro, Professional, Musician, Producer, Audio Engineer, Sound Designer, Mastering Facility, Reaper
1. When did you start dabbling in music?
I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.
These great players, along with drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me.
2. What training have you had?
I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music.
It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.
3. When did you get into recording?
It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior.
I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools.
4. People you have worked with/for?
Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!
As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer.
5. Why are you so good at training people?
I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.
Products by Eli
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tutorial videoAAS Chromaphone Explained
Eli Krantzberg returns, this time showing you the incredible AAS Chromaphone creative percussive synthesizer. This synth is capable of creating incredibly expressive drum, percussion, string, and synth-like instruments, so hold the phone and check it out!
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tutorial videoAAS Strum GS-2 Explained
In this FREE series commissioned by Applied Acoustic Systems, Eli Krantzberg covers the expansive performance library of electric and acoustic guitar strumming inside and out, and shows you how to make Strum GS-2 your new favorite session guitarist!
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tutorial videoAirEQ Explained
Eli Krantzberg returns with an in-depth series on the amazing AirEQ by Eiosis, which was designed with a vision of achieving musical, technical and sonic excellence in equalization. This just might become your to go-to EQ!
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tutorial videoAlchemy 2 Explained
Logic Pro X 10.2 integrated Alchemy 2, one of the most powerful virtual instruments ever made. In this three-hour video training tutorial series, Eli Krantzberg teaches you how to become a Alchemy wizard and unleash all of its power on your music!
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tutorial videoAmple Sound Super Jumbo Explained
Eli Krantzberg presents a detailed series of Super Jumbo tutorials! Learn Super Jumbo, Ample Sounds’s incredibly realistic virtual acoustic guitar instrument inside and out, as well as how to use it creatively.
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