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.

[@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 :)

[@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.

[@stevenwhite5907]

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

[@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.

[@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.

[@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!

[@stevesutube]

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

[@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.

[@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!

[@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.

[@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.

[@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.

[@gregoryhaddock5395]

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

[@arnoldwolfcastle]

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

[@andyhyner7864]

Very helpful. Thanks Christian.

[@DavidGaliel]

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

[@roywinston3061]

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

[@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!

[@paulandamyw]

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

[@chas1085]

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

[@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.

[@Kharrari]

Put in that work!

[@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.

[@barrystevens3550]

Bravo, a wealth of ideas and knowledge.

[@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 :)

[@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.

[@yousefyaqub661]

Christian using his new pallet gear!!!!!

[@colineastwood1357]

Helpful information, thank you. Your passion is infectious.

[@markhawley5482]

Another great tutorial from Spitfire Audio, many thanks!

[@cjp68]

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

[@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?

[@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.

[@paulmarriott7683]

Pure gold - thank you.

[@davidcottrell1308]

Very, very good points. SPOT ON!!!

[@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

[@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.

[@galacticecho7027]

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

[@BoogieBear]

Another fine and inspirational tutorial, thanks Christian!

[@805productions3]

awesome tutorial, I learned so much

[@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.

[@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!.

[@alanyost4061]

Gold - thanks Christian.

[@whyteian]

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

[@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.

[@MrMoogman1]

Very helpful thanks so much Christian

[@deanwhitlock3312]

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

[@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

[@Alex.kid.huxley]

The real Ninja is Andy Blaney ! awesome video thx.

[@johnjoedaly]

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

[@miroslavgrencik7889]

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

[@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.

[@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

[@fryslander]

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

[@joellongie]

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

[@endmiddlebeginning]

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

[@robpittman3132]

Or, you’re Mahler

[@derekh2934]

Incredibly helpful video. Thanks for the great tips.

[@jacobvig0]

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

[@angelgcastro1]

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

[@Markrspooner]

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

[@sebalatorre]

awesome video, so useful, thanks!

[@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

[@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

[@charlie_robin]

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

[@tunesmusic8929]

Very good per usual

[@virvt3819]

Me encantó la explicación. Muchas gracias por compartir!!

[@yadinmichaeli12]

Really helpful thank you very much :)

[@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.

[@rdru2ner82]

The teacher is back, Let’s Go!!!

[@ultimatebeta805]

Inside or outside the classroom?

[@BenMolinaro]

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

[@rdpatterson2682]

Great stuff.

[@MattyShreds]

What is the name of the controller you're using for expression/velocity?

[@antkn33]

See his previous video

[@martijnvanbeek4387]

It's Monogram

[@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

[@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!

[@Wasaia]

This is gold :-) Tx!

[@DIDCHOI]

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

[@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.

[@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 😊👍

[@Voyagermusix]

great

[@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 :)

[@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!

[@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?

[@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

[@RodrigoTPHS]

Love it

[@MartinJG100]

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

[@Nicdehouwer]

Good video

[@monterey_band]

Any hints on playing faster sections with legato where the lag becomes more of an issue? Are you better off writing with longs or even piano and then converting?

[@pedrosilvaproductions]

Might as well play roughly what you need then quantize and modulate afterwards

[@cyrilcalmes4208]

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

[@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"?

[@DennisMillner]

Totally unrelated to the topic, but what is that black mac keyboard? I'm trying to find a compact (depth wise) wireless one for my setup :)

[@nickpov3y]

My question is how long should the overlaps be in midi? Do how long they are actually change the legato samples being used?

[@johnjoedaly]

Great question 👍

[@mediamusicmastery9348]

long enough to trigger the legato in the next note! you could test it :)

[@Krunalshahmusickeys]

HI.. Can anyone help me with which control surface is been used over here... would be really helpful. Thanks

[@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!).

[@iseeyou4291]

I thought there was no legato available in Abbey Road One ?! Have you updated it with legato function ?? If so, I'll buy it as soon as you answer my question. THX & Kind Regards

[@ThatAdamGuy]

Hey there! They've added some 'expansion packs' of sort to purchase ($49USD each). See their Abbey Road page for the details.

[@Alex.TD.]

Is that possible to connect two notes of the same pitch in legato mode? I failed to do this. The second note was muted.

[@beneditsmusic]

Can you do a video on how you process your samples in your session? I know they're eventually handed off to a mixer, but I have most of the Spitfire libraries and they don't sound like this in my system. Do you have compression, EQ, verb, etc. on different sections built into your template? I'd love to know. Because if this is straight out of the box, I need to figure out what's up with mine.

[@TheCrowHillCo]

There is no processing on this at all. This is how it sounds out of the box.

[@beneditsmusic]

@@TheCrowHillCo Interesting. Thank you so much for the reply. I'll have to look at what is going on in my system. Everything sounds very quiet when I load up AROne.

[@TheCrowHillCo]

@@beneditsmusic are you using your modulation wheel?

[@beneditsmusic]

@@TheCrowHillCo yes, modulation wheel fully in use. Honestly, there's a good chance I'm just monitoring too low. It is a silly issue, but I feel like my output from Cubase is significantly lower than any of my other programs. Most likely a user error on my part.