Tempermental

[mojobone]

How does one handle the various conflicts involved in mixing synthesized versions of tempered and non-tempered instruments? How can I get large ensembles that include samples of multiple string players in tune? Should I try?

[zoom]

Mojo.... that's kind of one of those things that I haven't had much luck with in the synth world. But it always depends on the samples you have, to be able to double your string pads and more or less bury one in the mix without having weird things happening with the LFO's, apparent voice warbles or what have you...If you're working all in your PC, or at least have it to a point where you can copy the MIDI and play with the mix... then why not try it? Of course, be prepared for disappointment... but without disappointment, I wouldn't have any appointments at all. Good luck!

[mazz]

It depends on your definition of "in tune". One of the charms of a nice thick string sound is that the players are constantly adjusting their tuning in minute amounts, chasing each other around in an attempt to play "in tune". If a string section was to ever play perfectly "in tune", I would venture a guess that you wouldn't like the sound very much.As far as incorporating tempered and non-tempered instruments, I've found it works best when the non-tempered instruments are in the foreground, such as a native flute playing solo in front of a string orchestra.Great players of all instruments (even piano) manipulate pitch for emotional effect. There's nothing better than a great soul singer moving a note around against the band, or a great sax player doing the same thing. "Perfectly In tune" can be boring, IMO. "Consciously manipulating the tuning" is pretty thrilling, IMO.On a practical level, chorusing effects of all types can be used to move the pitch around a center point and the listener's ear will "average" out the tuning, just like in a string section, as mentioned above. Of course, there is a limit to all of this and some things just won't work in combination, but that's the fun of experimenting with all the fabulous tools we have at our disposal at this time in musical history!!Good luck,MazzPS: Post up some attempts to be listened to on a purely mixing/tuning basis.

[mojobone]

Yeah, the small ensembles are actually the larger problem; I can smear the big stuff with reverbs, early reflections, etc.I'm working on a pop tune that's crying for a string quartet, the featured instrument's a (stretch-tuned) sampled piano, I may just bite the bullet and hire real players for the final. Realistic vibrato's kind of a bear as well, maybe I need a ribbon conrtroller or Garritan's solo violin and cello.I do know what you mean mazz, when it comes to consciously manipulating. I started as a sax player, it's axiomatic that the soul quotient is directly proportional to the amount of pitch overshoot in a solo.