Orchestral Production
Orchestral recording is the most complex type of recording we do.
Adding Strings
Sometimes it may be as simple as adding some strings to an existing song. If it is a pop song then often sections will be repeated - thus cutting down on recording time. Although the writing and recording is quite simple we would still normally use 27 strings to build up a a regular section. You can use less, but you are then getting more into the territory of Eleanor Rigby which sounds more chamber like, rather than a full string section.
Pictured on the left is an original score for Nina Jones' version of Purple Rain. Here we are just going into the final chorus. It must have sounded pretty good because it has (at the time of writing) 223,000 views on Youtube!
The video was shot upstairs in Studio 2 and yes we did use dry ice. If you don't know - dry ice exists at -180C and turns to vapour when you pour boiling water on it. The rather unfortunate by-product is carbon monoxide, so we only had a few camera runs before we had to get everyone outside in the fresh air! The Youtube link is underneath, so you can hear how it sounds - and looks in practice.
Adding Strings Brass and Woodwinds to an existing recording
This is one step up but still easily doable and not necessarily too expensive. Price all depends on whether there are repeats - whether it is more big-band or just adding flavour to the band. We would still be expecting the band to take care of a lot of the rhythm.
A great example of this is a recent album of Burt Bacharach songs by Elaine Gilmore.This album was scored to be played live using strings and a 6 piece brass section. The 2 sax players would double flute and clarinet if a more orchestral texture was needed.
Perhaps because this was accompanied by a video that was relevant to the times it has (at the time of writing) clocked up 220,000 plays on Facebook.
Full orchestral recording
Daniel and Laura Curtis' last recording was a double CD called 'Overture'. As well as full orchestra and sometimes a rock band, each disc would open with an orchestral overture playing tunes that were to feature on this CD.
If you listen through you will realise that the tempo is changing all the way through. How do you keep an orchestra together when the tempo is swimming about? With a conductor is of course the answer - but not when you are multi-tracking in the studio! So we need a virtual conductor.
Let us take you through this rather convoluted process! First off we write a score - something like the 1st page on the left. The next step is to transfer that to the studio set up as a midi file. By the magic of technology we can play back the written music with all the correct instruments sounding. 'Can't we just use that for the recording?' we hear you cry! In truth it still sounds rubbish - but the basis is there. Next we painstakingly go through the whole piece drawing tempo curves in. Now the piece is playing at the right tempo and sounds better. Then one by one we replace all the fake instruments with real ones. When you have heard this process come to life, you will never want to return to fake strings ever again!
So look at your wallet carefully before you get hooked!
One of the reasons we know so many musicians, is because we are gigging musicians ourselves.
We have had the pleasure to fix the bands for gigs at The London Hippodrome, The London Palladium and most recently for Music Man Project UK, at The Royal Albert Hall.
We also arranged all the music for these gigs.
If you have a project that seems too far-fetched to ever work - perhaps you should have a chat to us first!
