watch me provoke another intresting discussion OK, anyone here who has tried getting violins or "aaaahhh" vocals to work without a live recording knows that it is a pain in the ass. These are really hard to make sound like the real thing, let alone producing some of the effects the real thing can create. So, how do you guys handle violins and vocals when you are wanting to get a realistic sound?

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I''m a 100% with you there. As for vocals, I used to have only two options; either omit them - or have other instruments ''cover'' them to the degree where you''d register that the choir was there, but you couldn''t really hear the artificial transitions between notes / awkward fades. A horrible solution.

As for violins, I''m having an easier time working with those, mainly because I have so many different violin samples; different in attack, fade, vibrato, what have you, so when I construct the melody, I handpick each sample carefully - sometimes I have one different sample for each different note. This isn''t really possible unless you have the freedom to choose from a large collection of samples played with the same violin.

On another note, I''ve now taken the necessary steps to never again have to worry about fake vocals - at least not in the forseeable future - by starting a collaboration with a female vocalist who can provide me with recordings. You can search the internet for ''voice actors'' - a lot of them are interested in contributing and can actually sing really well - for free. I know that''s not the way to get a 50-man male choir, but still...

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quote: Original post by Andrew Russell
watch me provoke another intresting discussion

OK, anyone here who has tried getting violins or "aaaahhh" vocals to work without a live recording knows that it is a pain in the ass.

These are really hard to make sound like the real thing, let alone producing some of the effects the real thing can create.

So, how do you guys handle violins and vocals when you are wanting to get a realistic sound?

Do not meddle in the affairs of moderators, for they are subtle and quick to anger. ANDREW RUSSELL STUDIOS
Cool Links :: [ GD | TG | MS | NeHe | PA | SA | M&S | TA | LiT ]
Got Clue? :: [ Start Here! | Google | MSDN | GameDev.net Reference | OGL v D3D | File Formats | Go FAQ yourself ]

As far as Violins go, if I want a real sound, I play it with my Violin. That''s right, I used to take Violin courses so I know my way with a violin. For vocals, I usually ask my friends.


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Decent samples are important, as you don''t want a violin sample stretched up an octave or whatever. When I write modules, I add a bit of fade-out on both violins and choral vocals, so that you don''t hear the abrupt transitions. It comes across as reverb and prevents it from sounding abrupt. Another trick I do with the choral stuff is to use different samples in different channels and layer them, giving the audio equivalent of graphics'' multitexturing. Because the 2 samples loop at different points and have a slightly different timbre, you don''t notice the loops or other glitches as much. Providing they''re sustained, choral vocals can also take a bit - or even a lot - of reverb before they start to sound odd.

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I don''t know if this is useful in any way, but for vocals you could try sampling a couple of octaves worth of someone going "aaaaaaaa" (and loop it), then raising and lowering the volume of each loop to produce chords.

Kind of like what R.E.M. did on Star Me Kitten, and probably what 10CC did on I''m Not In Love.

That way you have real voices, so it doesn''t sound like a synth, and you can produce whatever notes you want.

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To be honest, I just avoid them. For violins I usually just use a string section simply because they usually sound better and more accurate.

do you know nemesys'' software called "GIGASTUDIO" ?
it can sound like real orchestra.