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Be aware of the relative power of each instrument.Real string players can’t play really fast ostinato patterns forever. Real brass and woodwind players need to breathe. Never forget that your MIDI mockup is supposed to sound like real people are playing real instruments.If your melody is focused around middle C, keep your accompaniment an octave higher or lower, especially if the accompaniment is similar in colour to the melody. Keep your melody and accompaniment in different registers (or at least very different tone colours).You will have listened to your music for hours while working on it and what has become a boring 8 bars that needs more instruments to keep it sounding fresh to you, is new and fresh to a first time listener without any extra instruments and will sound muddy and confusing to a new listener if too many instruments are added. Beware of the trap of over orchestration.To paraphrase Mike Verta “no colour is as clear as a solo instrument”. Don’t use more instruments than you truly need.The listener will still hear it because they are familiar with it and they will know that their focus should be shifted to the new music that was just added. If you start your introduction with the focus on what will become the accompaniment, perhaps you start with just chords or an ostinato pattern, when the melody is laid over top of the accompaniment, decrease the volume of the accompaniment.When transitioning from one section to another (from an A section to a B section or verse to chorus) keep a common thread between the two so it’s clear they are related otherwise is will sound like a completely unrelated piece of music.Change just the rhythm or just the melody or just the accompaniment or just the colour. When moving forward with developing an idea, only change one thing at a time.Horizontal development refers to modifying a melody/rhythm, or changing and developing an idea. Vertical development refers to changing/adding instruments to the same melody. Both are important but in the right proportion. At the same time, be wary of too much vertical development or horizontal development.Change the accompaniment, change the harmonization, change the instruments (often referred to as changing the colour). This requires something to be played at least twice. Establish a pattern that the listener can lock on to.
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If your music is too busy, the listener will be lost.
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Over the course of the long video, the same problems are found in many of the musical pieces.
MIKE VERTA KONTAKT ORCHESTRA HOW TO
Part one is over 11 hours) Mike Verta critiques works of music submitted by various amateur composers (like us) and offers tips on how to improve them. In a marathon video session, broken into 2 parts lasting over 15.5 hours, (Yes that’s right.