Legato - Unlock The Secret Of Orchestral Programming

[@adambradley3284]

From 9:59 to 10:43 I saw the light. Christian gave us the magic. I closed my eyes, tapped to the metronome and listened to how it feels when its LATE, when its EARLY ............ and when it is PERFECT. So good, thank you Mr Henson

[@davidbrussard-composer7372]

"Musicians never stop dead" is one of the most important things to remember when making realistic orchestral music. Sometimes I forget that, and it's always nice to get a reminder!

[@superblondeDotOrg]

metalheads do

[@robpittman3132]

Skilled musicians can do both, opening up expressive options.

[@RockBoBsteRMusic]

Sometimes we do.

[@thomasvinelli]

This is why I go with spitfire audio. Not only do they really push to get great sounding samples, they use them ,themselves. They live with them. I found other software companies go for the money grab and that's about it. Plus loving Abby road one so far.

[@thomasvinelli]

Yes I get it but if your going to do a library a spend the time and money do it right. God people are so sensitive today. You’re sticking up for other companies you don’t even own . What do you care.

[@TonyDeConcini]

The best explanation yet I've seen of what Legato actually really is. Brilliant, clear, concise. Thanks for this video Christian. Great for a newbie like me who, while I don't have the best, higher priced libraries nor the equipment or DAW that the pros use, it STILL will be a valuable lesson in using the things I have at my disposal.

[@stevenwhite5907]

Even though I'm late to the party watching this video, total lightbulb moment! Thank you Christian.

[@jonathanhughes]

After many, many years of using Logic, I never knew about the force legato command. This is going to save me a TON of time.

[@OfficialStevenCravis]

Plus you can use Command + A to select them all before forcing legato.

[@nickjones5641]

Cubase has force legato and let's you determine the overlap of selected notes.

[@c.r.blankenship9040]

What's this now?

[@joeshite]

@@c.r.blankenship9040 shift + backslash

[@c.r.blankenship9040]

@@joeshite Thanks!

[@comrestudios6040]

Thank you Spitfire for your generosity for providing a free version of a great orchestral VST and introducing programming concepts such as this, this sure helps and widens the horizons of a normal composer to think about a great string section.

[@juergenaverbeck7617]

Christian, most of the time I watch your video, I feel the energy you emanating and can't wait to try and learn the things you're trying to teach us. I am so grateful to you for that. You have taken my interest in composing to a new level.

[@stevesutube]

Ladies and Gentlemen you have been schooled! As a rookie composer I bloody love these educational nuggets. Many thanks CH

[@emanueldivillarosa5701]

Very timely video for me... I've recently purchased a copy of BBCSO Pro and have been using legato patch more. You just affirmed my suspicion as I've been voicing the lines independently and thought, at least to my ears, that it sounded more natural, more organic. Thank you for all your videos, I have learned so much and learn with each new video you release.

[@sonicindustries227]

Fantastic stuff. Wasn't that long ago that the thought of trying to orchestra anything would've had me shaking the spuds out my underpants. Now, thanks to Christian and Spitfire it doesn't phase me at all. You literally can't make enough of these tutorials Christian - keep them coming please.

[@peterelfman]

This was an absolutely amazing tutorial on orchestration. My introduction to music making was playing trumpet; thanks to the vocabulary you bring up in this video, I realize that I in fact do think of the playing of musical notation as 'voicing', and have been struggling with shifting to keyboard cording - I just haven't been pleased with how certain bits turned out. Now that you've taught the difference between the two mindsets, I think I can make some immediate improvements in my work. You're contributions to the community continue to astound and be outstanding. Thank you.

[@parityflux]

"Don't cross the beams", me thinking: "Wow, did I just do that in my last piece? Why yes, yes I probably did!". Thanks for articulating the reasons for this. This has an immediate effect on me.

[@800pieds]

Next steps: don't do parallel fifths :)

[@arnoldwolfcastle]

Solid knowledge paired with an excellent sense of humour. These are always great.

[@ScottGlasgowMusic]

Thinking linearly is really important difference from a classically trained composer (who likely studied couter-point both early and baroque) and popular music based musicians now writing orchestral music.. they don't think in musical lines, they think in chords. Spot on video Christian! BTW - I see a SomaLab Lyria-8! I just got a white one myself. What a beast that is! Check out it's digital brother in the Elmyra!

[@roywinston3061]

Christian, This really is a super video. Enormously helpful and informative - and also made a great deal of sense. Thank you,

[@gregoryhaddock5395]

I've needed this for YEARS! Thank you, Spitfire 💛🙏🏼

[@TDB_Music]

Since I always heard the pre-delay feature wasn't in Ableton: you can actually go into View -> Track Delays, and you will be able to adjust the pre-delay in ms for both an audio track and a midi track. Very useful for legatos!

[@DavidGaliel]

Concise, clear, enlightening and generous. Another gift to musicians.

[@paulandamyw]

Your passion for creating/composing/refining is so palpable in this video, Christian. Thank you. It's inspiring. :) Paul

[@andyhyner7864]

Very helpful. Thanks Christian.

[@chas1085]

Excellent mini tutorial with some really great pointers! Many thanks to you and Paul for these. Enlightening.

[@lewisinkpress]

Awesome Christian! -- Elgar, Bax and Parry would be very proud! Such a great opening idea!! cheers!

[@kamilslaby_]

This is very valuable content. Thank you for putting this for free in the times where others trying to scam on some masterclasses not even half useful like this.

[@rhandeymaahrsch2151]

Tip for Reason users: the pre-delay feature can be achieved using the ReGroove mixer. Took me a while to figure that out. Much better than moving all the notes manually, as I stupidly did before. Thanks for the awesome tutorials. I learn something new every time, even though I don’t use the exact same products. Got suckered in by the free offerings, began buying the Originals series, and I am now saving up for BBCSO or Abbey Road.

[@thomasmalmborn2175]

I absolutely love Spitfire and the stuff you´re making. It´s simply magic! And theese videos are so inspiring and brings my creativity to a new level :)

[@adumbration4518]

Brilliant instruction for Legatos thank you ! I’ve had a slight lag in understanding so much appreciated. Funny thing, I’m coming away with an odd craving for steamed broccoli?

[@markhawley5482]

Another great tutorial from Spitfire Audio, many thanks!

[@galacticecho7027]

I always appreciate when you and Paul take time to teach us, thanks!

[@alontrigger]

Great advice Christian, If I may add another piece of advice to those you suggested. Contrary motion and a planning of harmony/intervals between the voices will further in rich the overall texture.

[@ComposerRocks]

I couldn't agree more.

[@terrybarnes5343]

Great video Christian, thanks you so much, I still have a lot to learn but I did already know some of those things like overlapping notes for legato, great to have that confirmed as good practice. Take care look forward to the next one be safe, best wishes Terry

[@yousefyaqub661]

Christian using his new pallet gear!!!!!

[@Allan-et5ig]

Great video, Christian. Just got Legendary Low Strings and learning...good product. It will be great to further appreciate your admonition about not thinking of harmony as block chords. I will just add that guitarists frequently do use, with pull-offs and hammer ons, finger-independent (dedicated) parts within chords to avoid the straight block sound. That aside, your point is extremely helpful.

[@Kharrari]

Put in that work!

[@BoogieBear]

Another fine and inspirational tutorial, thanks Christian!

[@cjp68]

Now if I could get my Presonous Atom SQ to play like what you have taught! Excellent video!

[@endmiddlebeginning]

Never cross the streams. Unless you're fighting a giant marshmallow man.

[@robpittman3132]

Or, you’re Mahler

[@philh27]

Thanks Christian. For a future tutorial, I'd really value something as detailed on orchestrating shorts. I always feel like I'm winging it. Sounds good at times, less so on others.

[@muziksculp2r]

Hi Spitfire Audio, Please give us the Mid-High Legato String Section for AR-1 Foundations. Such an important part of this library that is missing. I hope you can release it soon. Thanks.

[@barrystevens3550]

Bravo, a wealth of ideas and knowledge.

[@colineastwood1357]

Helpful information, thank you. Your passion is infectious.

[@paulmarriott7683]

Pure gold - thank you.

[@davidcottrell1308]

Very, very good points. SPOT ON!!!

[@whyteian]

I love your videos and your passion for what you do! I learn so much each time I tune in. Thank you.

[@hellohogo]

best use of Monogram cc i've seen

[@jean-francoisremillard9513]

Excellent tutorial!

[@Tony-Stockport]

Great video and a great help to me personally. I'd been playing the overlap (as you demonstrated) but found it impaired the performance. It's much better to tweak afterwards to trigger that legato effect.

[@dokproduction9881]

Very interesting video as always Christian! I noticed that when programming with winds or horns, we should also think about letting some space to breath... In my opinion it sounds more realistic, even if it's programmed orchestra. Back to the strings, It could be cool to do a video to speak about vibrato. A violonist, altist, cellist or bassist don"t use vibrato everytime, and I think it's important to know how to use it when programming.. Otherwise it can ruin a composition. Sincerely, Yvan

[@aaryantajanpure7461]

Liked the video. This was the reason I always liked libraries with separate instruments instead of a single strings, brass, woodwinds patch. Probably the same reason why I didn't like Albion or Abbey road irrespective of their sound. BBCSO is great though!.

[@johnjoedaly]

Glad I tuned in to hear Christian 'sing with his flute' 🤣 👍

[@deanwhitlock3312]

You can bundle these "lessons" and have one bang-on orchestration master class. I learn something with every one I watch

[@birdlingbrains]

Great tips, sir! I'm definitely guilty of crossing the beams. And since this video is about Legato, I would be remiss in my duties to not send the request into the universe to please consider recording Violin Con Sord Legatos as part of either the Abbey Road project or a future endeavor. It's something that's sorely lacking in the world today.

[@fryslander]

Thanks Christian for your teaching, always full of infectious enthusiasm.

[@alanyost4061]

Gold - thanks Christian.

[@BenMolinaro]

Is there a smoothing automation tool trick going on at 5:02 or is it simply the redrawing being speed up?? :) thx 🙏

[@805productions3]

awesome tutorial, I learned so much

[@MrMoogman1]

Very helpful thanks so much Christian

[@jacobvig0]

Would be nice to see you playing around with the velocity-legato-transitions especially from the new AR selections

[@joellongie]

Fantastic, thank you!!! This really helps fill in the gaps.

[@miroslavgrencik7889]

I always enjoy your spirit, Christian:) Would you make some tutorials of the Round Robins Functionalities? (Albion, Solo Violin, or Solo Cello?)

[@Markrspooner]

One of your best videos on midi orchestration. Thank you Christian

[@derekh2934]

Incredibly helpful video. Thanks for the great tips.

[@Alex.kid.huxley]

The real Ninja is Andy Blaney ! awesome video thx.

[@keiththeodosiou]

This is actually a very important way of arranging. We really do have to get away from block chords as keyboardists, and this video shows exactly how to do this. I am very guilty of writing block chords for orchestration and i really do have to get out of that habbit. Thanks Christian for this very important informative video. Now, off to my keyboard! lol

[@theweakerthanyou]

Is the move to record the block chords first then split out the voices and tweak? Seems easier than writing in individual voices. Trying to improve my workflow

[@michaelstevenson5570]

@@theweakerthanyou yep Christian was saying in the video it’s ok and good to write in block chords - seperate it after. Not that I’m mastering that yet lol

[@pedrosilvaproductions]

@@theweakerthanyou it depends on what you want. I find myself many times making melodies with counter melodies and harmonizing etc because I do an individual voice separately. One neat trick is to create a melody individually then create the other and just listen to each group together. Lets say you write cellos then horns then trumpets. You do each separately then pick horns and try to blend with the cellos, harmonizing or something similar. It works for me. Hope I made sense lol

[@nicksaya]

Has anyone figured out the delay offset for each library? that would come in handy.

[@johnjoedaly]

The eternal question!!!! Lots other brands have it in their literature, but as yet, not Spitfire. Fingers crossed they will catch up soon 👍

[@nicksaya]

@@johnjoedaly which brands? I find that orchestral tools libraries timing needs to be adjusted the most.

[@johnjoedaly]

@@nicksaya Hi Nick. Turns out I'm completely wrong in this circumstance! 🤣 I just looked up the Legendary Low strings manual and they actually have included the info in there. "CC1 DYNAMIC PEAK POINTS ff - 127 (100%) mf - 64 (50%) pp - 20 (15%) INTERVAL TYPES SLOW Below 99 Velocity, playing at normal speed. Timed to 125ms. Slow Intervals will trigger regardless of playing speed below 40 Velocity. HARD Over 100 Velocity, or playing at faster speed. Timed to 75ms. RUNS At very fast speed only. Timed to 125ms" So I guess that they have responded to users requests for the info. Bravo Spitfire 👏. Now if they would go back to libraries such as BBCSO and update the manuals with the info, that would be amazing. As for other brands, I don't want to start a cross brand promotion on their channel. 👍

[@OfficialStevenCravis]

@@johnjoedaly I’m surprised that it doesn’t vary depending on RAM amount, speed of processor and other individual Mac configurations, but very glad you shared this info which I hadn’t read yet!

[@professortrog7742]

@@OfficialStevenCravis that would mean your workstation can not properly cope with the workload. With nowadays hardware, hardly possible.

[@charlie_robin]

What is the thing you’re using to control volume and modulation?

[@mikemccormick1624]

Just an absolutely brilliant video! You had my mind going full speed ahead as I realized the problems in my compositions and how you taught me to fix them. I had to pause the video several times just to let your ideas sink in. Thanks!!! I have purchased Abbey Road One Foundations and am looking at adding the A-R Collection. But I do have one question: May I assume that when you split your chords into 3 separate 'voices'🙂 each on its own track in your DAW, that you are then using a separate instance of an Abbey Road plugin for each track? I'm a bit confused because it looks like you are using a different volume automation curve for each of the 3 voices which as far as I know it not possible for one instance of the plugin. I also noticed then, that you had your each of you DAW's track MIDI channels set to AL, and the same for the instance of the Abbey Road plugin. Were you sending a different MIDI channel from your keyboard for each voice? Does this mean that once instance of Abbey Road One can separate the volume information for multiple MIDI channels simultaneously? Or.... are you indeed using a separate instance of the plugin for each voice. Thanks again for an absolutely incredible and very informative video! -mike

[@angelgcastro1]

Great video! What device is that you are using with the slider and wheel to control the intensity?

[@sebalatorre]

awesome video, so useful, thanks!

[@samferrell229]

I like to include the solo Cello or violin right after I bring in longs string chords from Albion one. Is is necessary match the room mics when it come to realism.

[@virvt3819]

Me encantó la explicación. Muchas gracias por compartir!!

[@tunesmusic8929]

Very good per usual

[@DIDCHOI]

Essentially "orchestrate properly" I joke hahahah great advice for this keyboard driven orchestration day and age!

[@MartinJG100]

11:52 .Depends on the Broccoli, Christian :).

[@andreasgoteson5717]

Honestly there should be a smarter way to adjust articulations/legato/release etc these days. It took a long time to get that brief woodswind section right even though I guess Christian is a pro with years of experience. Editing midi freaks me out and is a constant battle against flow. Love what Spitfire brings to the consumer market though

[@TheCrowHillCo]

Many people use the keyswitches to change between articulations? It really isn't that time consuming (unless you're doing a tutorial on camera!) I'm able to fully compose and orchestrate up to 25 minutes of material in a long composing day and have never felt that the necessary need for full control versus usability is compromised.

[@andreasgoteson5717]

@@TheCrowHillCo keyswitches or a dedicated controller sure can speed up switching between techniques but even with the right techniques in place I feel I have to edit almost every recorded midi clip to align it to another voice, the the dynamics of one voice within a block chord etc. Would be great with some kind of AI assistant to align midi notes, split block chords into parts and keep a humanized feeling to dynamics etc. I've also had the idea of a spitfire cloud (like e.g. landr): we all work on our local cpu with less cpu-demanding orchestral sounds and upload to your cloud where the midi details are adjusted, premium sounds are applied and the track is mixed and mastered

[@contemplativecomposer5983]

I see the Palette is gone and replaced with the new Monogram controller there! Tempted by that one myself... as I do like my Palette a lot. Been using the new Monogram App too :)

[@yadinmichaeli12]

Really helpful thank you very much :)

[@Voyagermusix]

great

[@CosmicValkyrie]

how did i end up hear? i was looking for spitfire airplane sounds. But i'm not complaining.

[@celebrityjeremy3559]

Another reason to wait until we get legatos across all the instruments. Especially strings and brass. Not octaves (though the expansion pack with the octaves do sound great!).

[@caradaly1661]

Really wish you had worked with milliseconds for adjusting the delay offsets to give us some idea of a real world relative value. Any ideas what these ‘ticks’ equate to in milliseconds? Great to see you talking about this. As a relative newbie to orchestral programming, I’m finding it very difficult to get any useful info about delay offset times for my spitfire libraries ( which I’ve spent a lot of money on since lockdown started) The response is usually “use your ears”, which may not be very useful advice to a newbie who’s ears may not be tuned in to orchestral instruments as much as seasoned professionals. From just watching you do these adjustments, I would presume that you and all the spitfire team have a very good idea of what these values are for nearly every articulation in all of your libraries. And maybe you don’t have them off the top of your head, but you most likely have an incredible resource in the form of all of your logic sessions to look back over and get an idea of an average for each one. I know that there are multiple different technical reasons why a single value will not be a ‘one click fix’, but even if you guys could come up with a list which would act as a reasonable starting point for each instrument and articulation, thus would be an invaluable resource especially for newcomers to your products. I have given up on multiple tracks because of frustration with delay times. Please please please help! Thanks for all the great content and resources that already exist 👍

[@johnjoedaly]

Yes to all of this 👍

[@hanton22]

Short answer: He uses about 30ms for the "longs" at 8:12. Long answer: The duration of a "tick" in logic is dependent on the tempo (In this case 158 BPM). The formula for calculating the duration of one tick in milliseconds is this: Milliseconds in a minute (60 000) / Tempo / Pulses per quarter note (960) In this case: 60 000/ 158 / 960 ≈ 0,4 ms He uses 76 tick negative delay, so thats 76 ticks * 0,4 ms = 30,4 ms

[@johnjoedaly]

@@hanton22 Excellent answer 👍 Really appreciate it.

[@caradaly1661]

@@hanton22 that’s great, thank you 😊👍

[@DOBBYau]

16:45 lol did not expect that

[@indyartmusic1142]

So, Christian, would you do that for all your instruments or just mainly the lead ones? Great video by the way!!!!! Thanks for sharing!

[@markgalasso245]

What is the name/model of that expression controller you are using please?.. the one on the left with the green, purple &. blue faders and scroll wheel in the center... Thank you

[@charlesgaskell5899]

Great video! What about the practice of stacking articulations on top of each other? When is this a good thing, and when is it a "no-no"?

[@dudleyspikeclarke1355]

Is there a way to trigger some kind of dynamic bowing in any of your strings libraries? In other words change bow direction within a long or legato??? If not do you know of a way to making it sound as if a rebowing has happened?

[@rdru2ner82]

The teacher is back, Let’s Go!!!

[@ultimatebeta805]

Inside or outside the classroom?

[@RPekka]

How many string players are recorded in the AR? Let’s say 36. Means that every time you play a note in Long Art you hear 36 players. Now play a chord and you hear 108 players but in the music sheet you find a chords of three voices. So if you are not writing for media where you record, mix and bounce and deliver but need to give real players your sheets it’s always best to write only in legato art and write your voicing only with legatos. As result you hear the more realistic endproduct and can deliver a sheet to real players which is ready to read and play. Hope this helps some new composers

[@rdpatterson2682]

Great stuff.

[@cyrilcalmes4208]

Nice video... Will we have legato for Abbey Road One High Strings ?

[@Ken13Dude]

4:15 Does anyone know how he adds his expression/dynamic modulations AFTER recording the line? I can't seem to crack that, I can only use my mod wheel at the same time as playing and recording 🤔

[@arianahmadnezhad4786]

I usually record the modulations on top of the midi that I've played in.

[@johnjoedaly]

Wow, I actually went mad and RTFM'd with Legendary low strings. Turns out that the legato transition sample offsets are actually contained in there! (Not sure if this is a first for Spitfire? It's not in the manual for any of the other spitfire libraries that I own) "CC1 DYNAMIC PEAK POINTS ff - 127 (100%) mf - 64 (50%) pp - 20 (15%) INTERVAL TYPES SLOW Below 99 Velocity, playing at normal speed. Timed to 125ms. Slow Intervals will trigger regardless of playing speed below 40 Velocity. HARD Over 100 Velocity, or playing at faster speed. Timed to 75ms. RUNS At very fast speed only. Timed to 125ms" Please please please please Spitfire, go back and include it in the manual for older libraries (BBCSO I'm looking at you!)

[@wesboundmusic]

That's the joy with these videos, @John Joe Daly: I watched this and found to my great joy that even BBCSO Discover has some legato, if you truly play the notes in the way that Mr. Henson demonstrates in the beginning. Yay! :-) (more fun playing them)

[@davidsinclair699]

Thanks Christian, I enjoyed the video and learned a lot. Is there any rule for calculating the negative pre-delay, or is a trial and error process?

[@TheCrowHillCo]

How it feeeeeeeeels!

[@davidsinclair699]

@@TheCrowHillCo Thanks

[@musicalnut20041]

Christian! Amazing as usual! What are your thoughts between the old palette gear and new monogram. I could never find the monogram in stock so ended up getting a huge deal on the palette gear version. Then the monogram then became available again in stock ... of course ... smh ...

[@TheCrowHillCo]

The new monogram is cross-compatible with the old palette gear and seems great!

[@CJMusic2]

Thanks for this Christian, very informative and useful. Quick question - how did you smooth off those modulation and expression curves at 21:08. Is it just a mouse click and drag? Thanks, Chris.

[@TheCrowHillCo]

Use the pencil and simply hold down the mouse button and drag a shape that is smoother.

[@AnthonySherritt]

"Empathize with the instruments"!

[@wsimpson53]

Thanks, Christian! I always learn so much from you! I am about to invest in the BBC Orchestra Professional after a ton of research. Can I assume the legato patches work the same way in BBC Pro as they do in Abbey Road!

[@TheCrowHillCo]

Yes!

[@stavrosgasparatos]

Did I see a Lyra 8 on your left??? :)

[@Jaaaaaaaaaaaaaaay]

A lot of valuable tips there. But I disagree with the never letting the streams cross. Sure, it's a good general rule of thumb, but this isn't ghostbusters ! Nothing wrong with a cello occasionally lifting above violas, or V1 and V2 weaving around each other sometimes if their phrasing justifies it. just a thought...

[@mybiggrin]

ARO needs mid & high string legatos ASAP.