Jump to content

The Orchestra Complete 2 - SonuScore


Recommended Posts

For starting mockups, The Orchestra Complete 2 from SonuScore is amazing.

 

Here's an example of ideas using just a single note melody going thru some Logic Pro X scripts I wrote that generates chord formulas from a select scale/key and where I can also set the note length and octave range to use as well.

 

 

This video shows just one instance of The Orchestra and only one MIDI Region (the simple melody), but you can load as many as your computer can handle.

I just kept this video very simple.

 

I'm also using the supplied presets, remember you can create your own presets within The Orchestra and modify existing presets.

Link to comment
Share on other sites

That's an interesting plug-in, but I'm afraid I still don't understand the idea behind your chord script.

It's basiclly what I describe in this post.

viewtopic.php?f=21&t=143758

 

(Like a minor 7 ♯9 chord for instance—that's not a thing. The minor 3 and the ♯9, which is labeled as an ♭10, are the same pitch.)

I create with this script chords based on the chord formula applied to a scale/key, not the name.

The 1-3-5 and 1-b3-5 are the first chord forumulas that everyone learns about, then you have other chord formulas you can experiment with.

 

I didn't just make up the chord formulas (although I can create odd formulas as well) I found a lot by searching the web.

For me, the name isn't important in experimenting, it's the formula because when it's applied to a scale/key, that's what produces the sound.

 

The reason I mentioned working with The Orchestra, is because The Orchestra will play any exotic (known and unknown) chord formulas.

I have Maximo from Sonokinetic but that only accepts limited major/minor chords and doesn't export a MIDI, unlike The Orchestra.

Link to comment
Share on other sites

I create with this script chords based on the chord formula applied to a scale/key, not the name.

The 1-3-5 and 1-b3-5 are the first chord forumulas that everyone learns about, then you have other chord formulas you can experiment with.

 

I didn't just make up the chord formulas (although I can create odd formulas as well) I found a lot by searching the web.

For me, the name isn't important in experimenting, it's the formula because when it's applied to a scale/key, that's what produces the sound.

 

Right, but… chord names are their formulas. There's no difference. I'm not questioning the use of ♭10 vs. ♯9 (though if this were written in notation, I might), but the fact that two of the notes in the chord are the exact same note, which is why that's a nonsensical formula. Minor 7 sharp 9 isn't a chord that exists because the sharp 9 is redundant. It's literally just the ♭3 an octave higher, but then your tool (and the chord spellings you have in there) don't appear to account for voicings anyway.

 

I'm also not questioning the use of a computer to decide your harmonies for you—well, I guess I kind of am, but I'm not begrudging it, let's say—but I don't understand how it's implemented. Is it simply stacking pitches on top of each relevant pitch in the melody, then adjusting anything necessary to remain diatonic? Is it somehow basing everything off the tonic? Is it finding some middle ground? My ear isn't catching it all enough to be able to tell.

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Reply to this topic...

×   Pasted as rich text.   Restore formatting

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

×
×
  • Create New...