Arranging and Orchestration Concepts !! 121Record the synthesizer parts and then add live players performing
the same parts.The combination makes the synthesizers sound real and
adds a human feel to an otherwise primarily electronic sound. The intona-
tion, vibrato, and dynamics of the live strings bring animation to the syn-
thesized parts. Sometimes the live strings sound full enough to eliminate
the synthesized parts or to mix the synthesized parts at a low level.
Another option is to play the lower parts on synthesizers and use live play-
ers to play the violin parts. The lower parts, being less obtrusive, will
sometimes sound real within this context.
Mixing real and synthesized strings together can enhance the richness
of the overall sound. This requires experimentation because the analog
quality of some of the parts has to fit the tonality of the rest of the orches-
tration.
Since there are literally thousands of string samples, arrangers must be
selective when trying to achieve a synergism with live strings. If the sonor-
ities do not match, the combination will not work.
It is sometimes desirable to create an unusual sound. One way to
achieve a creative sound is to choose interesting synthesized or sampled
sounds mixed with live strings and add effects (signal processing).
When arranging synthesized parts, stay within the range of the live
instruments.Some synthesizers allow programmers to play notes that are
outside the range of the real sampled instrument. This automatically cre-
ates an unrealistic sound. Write within the tessitura (the best-sounding
range) of the real instruments. This will cause the parts to sound more
authentic.
Playing full chords, especially in the higher octaves, tends to sound
thin and unrealistic on synthesizers.High, synthesized violins and violas
sound best played in unison or octaves. If the violin and viola sections are
small, the same theory applies to live string writing. A small section will
not have the same effect as a symphony orchestra that has a full comple-
ment of violins and violas.
Do not make the synthesized strings too loud in the mix.Adding
reverb and delay as well as keeping the parts relatively soft in the mix is
an excellent disguise; the strings will sound more realistic.
Try not to write complicated parts.For example, when writing for a
live string section, arrangers frequently write fast runs. This, generally,
does not work well with synthesizers. One reason is that many synthe-
sized sounds do not respond quickly enough, and therefore the sound is
often behind the tempo. (If a part is carefully programmed and several live
players are added to the synthesized parts, runs can sound realistic.)
Most professional string programs (sounds) offer sounds with a vari-
ety of bowing techniques (e.g., arco, staccato, and so on), dynamics (e.g.,f
andppp), solo instruments, and full string sections. Even though these
choices help to achieve realism, nothing can replace the ‘‘feel’’ of a live
section.