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E-raamat: Art of Digital Orchestration

, (University of Colorado, Denver, CO; Appalachian State University, Boone, NC.)
  • Formaat: 280 pages
  • Ilmumisaeg: 28-Dec-2020
  • Kirjastus: CRC Press
  • Keel: eng
  • ISBN-13: 9781000286977
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Art of Digital OrchestrationSuurem pilt
  • Formaat: 280 pages
  • Ilmumisaeg: 28-Dec-2020
  • Kirjastus: CRC Press
  • Keel: eng
  • ISBN-13: 9781000286977
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"The Art of Digital Orchestration explores how to replicate traditional orchestration techniques using computer technology, with a focus on respecting the music and understanding when using real performers is still the best choice. Using real-world examples including industry-leading software and actual sounds and scores from films, VR/AR, and games, this book takes readers through the entire orchestration process, from composition to instruments, performance tools, MIDI, mixing, and arranging. It sheds light on the technology and musical instrument foundation required to create realistic orchestrations, drawing on decades of experience working with virtual instruments and MIDI. Bringing together the old and new, The Art of Digital Orchestration is an excellent resource for anyone using software to write or compose music. The book includes access to online videos featuring orchestration techniques, MIDI features, and instrument demonstrations"--

The Art of Digital Orchestration explores how to replicate traditional orchestration techniques using computer technology, with a focus on respecting the music and understanding when using real performers is still the best choice.

Using real-world examples including industry-leading software and actual sounds and scores from films, VR/AR, and games, this book takes readers through the entire orchestration process, from composition to instruments, performance tools, MIDI, mixing, and arranging. It sheds light on the technology and musical instrument foundation required to create realistic orchestrations, drawing on decades of experience working with virtual instruments and MIDI.

Bringing together the old and new, The Art of Digital Orchestration is an excellent resource for anyone using software to write or compose music.

The book includes access to online videos featuring orchestration techniques, MIDI features, and instrument demonstrations.

Acknowledgements xiii
1 The process of composing
1(25)
The role of the composer
1(22)
Key concepts
23(3)
The blending of old and new
23(1)
The art of compromise
24(1)
Mixing in the special sauce
24(1)
The arrangement matters
24(1)
The scope of digital orchestration
25(1)
2 The instruments
26(42)
The traditional orchestra
27(30)
Flute
27(3)
Oboe/English horn
30(1)
Clarinet
31(2)
Saxophone
33(1)
Bassoon
34(2)
Horn
36(2)
Trumpet
38(1)
Trombone
39(2)
Tuba
41(1)
Harp
42(1)
Piano
43(3)
Organ
46(2)
Guitar
48(2)
Percussion
50(3)
Strings
53(4)
Orchestral instrument libraries
57(11)
Categories
57(1)
Sub-categories
58(1)
Scenarios
58(1)
Scenario 1 Quick mock-up
58(3)
Scenario 2 Stylized Sound
61(1)
Scenario 3 Traditional Orchestration with realism
62(1)
Scenario 4 Larger than life
63(1)
Scenario 5 synthesizers
64(1)
East West library example
64(1)
Content
65(1)
Lingo
66(1)
Trial and error
66(1)
The ultimate compromise
67(1)
3 Synthesis in orchestration
68(31)
Early instruments
68(12)
Mellotron
68(1)
Moog instruments
69(2)
Switched on Bach
71(2)
Additional instruments
73(2)
FM synthesis
75(1)
Early digital workstations
76(2)
Emulators
78(1)
Improving samplers
79(1)
Digital audio workstations
80(1)
Subtractive synthesis
80(9)
Waveforms
81(1)
Overtones
81(2)
Recreating sounds
83(2)
Cello example
85(2)
Flute example
87(2)
Physical modeling
89(1)
Additional examples
90(8)
Modeled instrument
90(3)
Subtractive synthesis
93(1)
FM synthesis example
94(1)
Wave table synthesis
95(1)
Re-synthesis
96(2)
Summary
98(1)
4 Performance tools
99(37)
Keyboard
100(3)
Categories of keyboards
100(1)
Sample select
101(1)
Expand-ability
101(1)
Built-in sounds
101(1)
Expressiveness
102(1)
Keyboard alternatives
103(10)
Non-note MIDI controllers
103(1)
Modulation wheels
103(2)
Foot pedals
105(1)
Joysticks
106(1)
Buttons, faders, and knobs
107(2)
Breath controllers
109(2)
App controllers
111(2)
Software set-up
113(1)
Latency
113(1)
Connections
113(5)
USB
114(1)
5-Pin MIDI
115(1)
Bluetooth MIDI
116(1)
WIFI
117(1)
IDAM+
117(1)
Most relevant examples
118(17)
Scenario 1 louche
118(5)
Scenario 2 Hornberg HB1
123(4)
Scenario 3 Logic Remote app
127(3)
Scenario 4 Leap Motion
130(5)
Summary
135(1)
5 MIDI techniques
136(30)
Recording MIDI
137(17)
Click-track
137(1)
Drawing tempo
138(1)
Jap tempo
139(1)
Tempo interpretation
139(2)
Demonstration
141(1)
Other tempo tools
142(1)
Recording to a click
142(1)
Click sounds
143(1)
Monitoring requirements
143(2)
Latency
145(1)
Buffer size
146(1)
Delay compensation
147(1)
Low latency mode
147(1)
Freezing tracks
148(1)
Demonstration
148(2)
Recording
150(1)
Recording modes
150(1)
Looping
151(1)
Take folders
151(1)
Merge mode
151(1)
Punching In/Out
152(1)
Slowing it down
152(1)
Recording without recording
153(1)
Step-entry
153(1)
Editing MIDI
154(8)
Basic tools
154(1)
Groove quantization
155(2)
Instrument selection
157(1)
Example situation
158(1)
Tuning
159(1)
Tuning systems
159(1)
Mixed tunings
160(1)
Options for no tuning system
160(1)
Articulations and styles
161(1)
Patch switching
162(1)
Notation
162(3)
The purpose of the score
162(1)
Visual quantization
163(1)
Performance modifications
164(1)
Notation in recording
164(1)
Summary
165(1)
6 Mixing
166(43)
Mixing practices
168(2)
Tape machines
168(2)
Mixing as an art form
170(6)
Loudness
171(1)
Spectral
172(1)
Spatial
173(3)
Dynamics
176(5)
Compressors
177(3)
Gates
180(1)
Limiters
180(1)
Spectral processing
181(4)
Time processing
185(2)
Reverb
185(2)
Delay
187(1)
Mixing process
187(7)
Immersive audio research
194(4)
Panning
195(1)
Stereo
196(1)
Surround
196(1)
360° audio
196(1)
General panning guidelines
197(1)
Stereo panning and depth
197(1)
Surround panning
197(1)
360° panning
198(1)
Workstations
198(11)
360° techniques
199(1)
Monitoring options
199(1)
Waves NX
199(1)
YouTube and ambisonics
200(1)
Recorded vs created
200(1)
360° convolution reverb
201(2)
Sam McGuire's 360° research in the Czech Republic
203(6)
7 Orchestration stories and workflows
209(25)
Sue Aston: digital orchestration
209(2)
Col Vaclav Blahunek: wind symphony orchestration
211(1)
Don Bowyer: composition/orchestration process
212(3)
Composition biography/use of technology
213(1)
Orchestration process
213(1)
Jazz orchestration
214(1)
Classical orchestration
215(1)
Additional uses of technology in my compositions
215(1)
Rahul Shah: library analysis
215(3)
Ondrej Urban
218(2)
Camille De Carvalho
220(2)
Cory Cullinan, a.k.a. Doctor Noize
222(12)
8 An outlook on future digital musical instruments
234(27)
Introduction: the concept of NIME (new interfaces for musical expression)
234(1)
Two main approaches to DMI design
235(6)
Augmented DMIs: augmenting traditional acoustic instruments
236(1)
Innovative DMIs: novel input, control, and mapping strategies
237(1)
The ancestor of innovative DMIs: the theremin
237(2)
An innovative DMI: the Tibetan Singing Prayer Wheel
239(1)
DMI system architecture: input, control, and mapping strategies
240(1)
Nostalgia and mutation: modular synths and virtual modular synths
241(4)
The "West Coast" and "East Coast"
241(2)
The modern Eurorack scene
243(1)
Virtual modular synth patching
244(1)
Performing music on-the-fly: music programming-based systems (virtual machines)
245(5)
DMIs for social engagement
250(4)
Building communities: social music-making
250(1)
Network concert technology
250(1)
Laptop orchestra
251(1)
Social music-making mobile applications
252(1)
DMIs for virtual reality and multimedia
253(1)
Posthuman DMIs: biotech, informatics, and artificial intelligence
254(2)
Conclusion
256(5)
Index 261
Sam McGuire is an active audio engineer, composer, and faculty member of the University of Colorado, Denver. He is the author of multiple audio technology books and numerous online training modules. Sams research into 360¨ audio and impulse response technology has taken him to Europe and Asia, recording balloon pops in castles, cathedrals, and concert halls.

Zbynk Matj is a contemporary classical music composer. He is well known for his ballet, scenic, and film music, and for his symphony works. He has received many international awards for his compositions.
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