VSL Big Bang Orchestra: Andromeda Walkthrough

VSL Big Bang Orchestra: Andromeda Walkthrough


So today I’m showing you the
Big Bang Orchestra Andromeda. Many new articulations!
We have recorded everything from scratch again, so you have a better
separation between the different sections; and you have two close mics for the brass, woodwinds, horns, trumpets and the low brass, as well as the high strings and low strings.
And on the left side, here in the mixer, you see all the available room mics that we have in here,
that are captured in the room mix channel here. So those room mix presets are the CPU friendliest presets and are the easiest to play. Let’s listen what it sounds like the long notes normal articulations: So it is really, really powerful,
and as you can see, if you played around with the Big Bang Orchestra,
it’s not just long notes. Now you find normal articulations and you switch up here between normal and soft low brass. As a comparison, the normal articulation: So it’s easier to optimize the brass
sound here with the soft low brass. You also get espressivo: You’ll get some soft swells: And you get the sforzato: And the sforzatissimo, which is like
the most powerful articulation you can find in here: So, a lot of options to choose from.
Additionally you can switch between non- marcato and marcato here with the keyswitches you can always see the color coding down here, so if I choose between
marcato and non-marcato you get the normal marcato sound and mixed in with
cc1 you can just add more marcato. And you have two options here, which is
also really cool, we’re gonna stay with the long notes for a little bit.
Some loading in the Big Bang Orchestra Andromeda velocity crossfade preset, which means that velocity crossfade is already activated and like in Kontakt, you’re just riding the volume for the dynamics, with the velocity crossfade on
cc1. And now the cool part: I love this preset, simply because the velocity now, the key velocity that you have, will determine the amount of marcato you want to mix in, if you’re switching to marcato: Let’s get to the short notes;
and those are now much shortened. For the short notes I’m always
switching off velocity crossfade. It’s usually on CC 28, as with all other
presets that we have with the Synchron Series, so you have those short notes here: Again, you can switch between with or
without piccolo: And you have optimized attacks for repeated notes: The same is true for the long notes:
you have an optimized attack for repetitions: Now let’s talk about the mixer just for a second.
You have those mixer presets right here, you have a closed room mix,
wide room mix and room mix always means that you’re just using one channel for
all the room microphones available, so if you switch to those Decca Tree presets,
you’ll see that the mixer here changes. The room-mix will be deactivated and
instead of the room-mix we’re using the Main and Main Center microphones of the Decca Tree: And if you want to go and check out what
the surround microphones do, let’s just go to the Wide Surround to Stereo preset,
and you see that the Surround microphone and the High Surround mics are added to the
Main and Main center microphone of the Decca Tree: You can always play with the mix.
Don’t be afraid to touch those faders. Those are just presets you can
adjust them anyway you like. Let’s just stick to the long notes and go to espressivo: And let’s just listen to what happens when we switch off the room microphones: Or maybe we’d solo just the strings: You still have here a little bit of the
bleeding of the brass in there, but you can get very close to those different sections.
Let’s just check out what the woodwinds sound like: And switch back to the normal articulation: And let’s bring in the room microphones again: And now just take off all the solos from the mixer Now, if you want to have even more low brass,
just accentuate the low brass in here: Want to listen to just a low brass, of course: So you can go in here and just design
your orchestral sound, the way you want. So you can ride those different faders.
They are all assigned to specific MIDI CC. This is CC 48, so the woodwinds would be
CC 49, the horns are CC 50, and so on. So it’s very easy to automate everything
that happens in here. Let’s switch to the classical surround to stereo. So in this case it’s the High Surround microphone added to the Decca Tree, sounds like this: And of course, you can see, you have a
plate reverb additionally, that just puts a little sugar on top of the mix.
So that’s just the short notes and the long notes. Lots of expression there.
Sforzatissimo is just crazy… But you also get some dynamics in here.
Always switching between non-marcato and marcato, here on G or A1. I’m staying with a non-marcato,
just to show the short swells. It’s really cool here, that the
release technology that we’re using, lets you get out of this crescendo anytime: The same is true for the long swells: This is actually not a trivial task,
but it’s great to have and it’s just in there with the Big Bang Orchestra.
You get some additional articulations here: tremolos and trills.
Let’s listen to the tremolos real quick. You can always see the key switches down here,
up here, always color-coded in exactly the same way as it is in the dimension tree.
So let’s start with the tremolos: So it’s tremolo in the strings,
and of course flutter tongue for the wind instruments. This is a good opportunity also to
switch velocity crossfade back on: And you get half tone trills here on C#7.
I will do that with velocity crossfade as well: It works amazingly well: And whole tone trills: Next up, it’s the falls, the halftone falls.
That’s something you don’t get anywhere else: Switching off velocity crossfad again: Of course it also works with velocity crossfade on: And you’ll get fast repetitions.
We’ll switch off velocity crossfade for those again. In three different tempos, we’ll start with 120 bpm: Whenever you leave the key,
you get the last nodes of the repetition. If you want faster repetitions, they are here: Even faster 160 BPM: So this is the overview of the articulations
that you get with the Big Bang Orchestra Andromeda. Don’t forget that you can manipulate a lot of
musical parameters that you have, with velocity crossfade, expression, attack,
everything you find here on the perform page really helps you to design your sound, and on
the mix page of course, you can design your own mix, how much of the room
microphones do you need in your mix, do you want to emphasize the low brass,
do you want to emphasize the high strings a little bit, do you want to go in and just change the EQ settings in here, or do you maybe want to go back to the Mixer-Presets, that come with the Big Bang Orchestra Andromeda,
and let’s see what the processed Mixer-Preset sounds. You have an ambient big preset.
And you can always see how the mixer changes in here. So we have the High-Stereo microphone and the Main microphone of the Decca Tree. Let’s just switch to the short notes to get an impression: Let’s go to the vintage tape preset: Or lush, so there’s a lot of options there: So a lot of options.
The Big Bang Orchestra Andromeda with the Synchron Player, and all it’s convenient features in the mixer, in the perform page, and of course simple orientation in the dimension tree window. Enjoy!

5 thoughts on “VSL Big Bang Orchestra: Andromeda Walkthrough

  1. Schon die Free Version ist ein mächtiges Werkzeug. Andromeda ist eine großartige Weiterentwicklung.

    Gruß aus Graz nach Wien!

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