![]() ![]() It’s super‑simple to use and the only ‘gotcha’ is that you have to live within the ultimate limitation of the supplied performance patterns there is no MIDI export or manual playback mode of the sounds. There are also options to control performance dynamics, independent control over root/bass notes, a simple note/chord entry system to trigger different patterns, and some powerful sound‑design elements if you want something other than just a pure orchestral string sound. Second, under the hood, the Striiiings’ engine uses style‑based preset patterns whose playback follows your MIDI chord input. First, the instrument pragmatically presents the whole section as low strings (basses and cellos) and high strings (violas and violins). UJAM’s Striiiings (shown above) lets you bypass the complexities of creating string parts in a number of ways. Three recently released products - UJAM’s Striiiings, Native Instruments’ Actions Strings 2 and Kirk Hunter Studio’s Kinetic Strings - illustrate the potential. Thankfully, this is also something our ‘performer’ virtual orchestral instruments can assist with. If you want an accessible introduction to this topic, then parts 2 and 3 of Dave Stewart’s excellent The Sampled Orchestra SOS series (see makes a great starting point. Equally, grappling with five MIDI tracks (one for each of the five sub‑sections outlined above), and writing single‑note lines for each to create a more convincing ‘ensemble’ performance, can be a challenge. Playing simple piano‑style chords with a basic string ensemble patch is not always going to produce the most authentic of results. However, perhaps more problematic for the inexperienced string arranger is how the notes to be played (for example, in a chord) are distributed across the various sub‑sections - first violins, second violins, violas, cellos and basses - of the overall string section. The composer has to make appropriate articulation choices (legato, staccato, pizzicato, etc, as available in your sample‑based instrument). In terms of string section performance roles, we might distinguish between sustained and single‑note (melodic phrases or ostinatos, for example) parts. Strings are regularly blended into all sorts of musical contexts, be that any number of pop styles, metal (think symphonic metal) and a whole range of hybrid styles used in scoring for picture. So, when creating credible orchestral elements for your own music projects, if you need to lean on some technology‑based assistance, which of the current crop of these tools might you turn to? Pulling Strings ![]() It’s not all rock and pop instrumentation through orchestral ‘virtual instrument performers’ (VIPs!) have also been around for some time. ![]() We are all familiar with virtual drum, guitar or bass instruments that include ‘performance’ elements and, as long as you apply a dollop of musical sensibility that suits the genre, these tools can provide authentic performances to go with their authentic sounds. While an orchestral purist might answer the above question with a firm ‘no’, providing you have a budget, music technology can provide a helping hand. If you don’t have Orchestration 101 under your belt, are there strategies to overcome imposter syndrome and apply a ‘fake it ’til you make it’ approach to orchestration? However, knowing how to best use those libraries to create a credible orchestral arrangement can be more of a challenge. Finding the sounds is not too much of a problem as there are plenty of excellent orchestral sample libraries available at a range of prices. Music composers and producers often face situations where a project requires orchestral sounds. Want to get started with scoring? Don’t worry, today’s super‑intelligent sample libraries have got your back. UJAM’s SE Striiiings: about as easy as it gets to create a full string performance in software. ![]()
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