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The process of learning about VSTs falls into music technology and production. This can be very limiting, so I suggest writing in a notation program as well as a DAW to help you grow as a composer. If you are composing something in your DAW alone, your violin sample may not have a portamento feature (slide), so you will never choose to write music with this technique. They’ll also need to practice playing instrument(s) directly and notating actual sheet music. Since many new composers rely solely on technology, it should not be the only source to help them grow. While using VSTs can teach you subconsciously about basic orchestration (like instrument ranges), it is best to refer to other sources. If you are new to music and rely on technology to teach you the basics, you’re in for a long journey ahead. If you’re serious about learning orchestration, refer to orchestration texts or get a music theory instructor. They may repeat a word, so you’ll learn a few words or phrases in another language, but this won’t make you fluent. This method alone is not the best way to learn orchestration it is more like watching a TV show in a second language with subtitles. By using different sound patches, you’ll familiarize yourself with various instrument ranges, the kinds of articulations they are capable of playing, and the register(s) in which they ‘shine’ best.įor example, you can play a flute in a higher register for brighter sound, whereas its midrange will feature a mellow tone, and the low range features a darker tone suitable for suspense music.Ī violin’s lowest note is the open G string below middle C, so playing in a violin VST will teach you about writing for violin – where its range ends and which register to choose for certain kinds of tone (bright, warm, etc.).

For example, you may prepare a template that loads as a quirky ensemble of organ, saxophone, and string sounds which you can play around with as an ensemble. Experimenting and building a new sound palette to your compositions.

Access to thousands of samples to change your keyboard’s sound into a completely different instrument, such as: a high-quality trombone, cello, flute, or percussion recording, etc. Access to a large variety of different piano samples which you may prefer over your keyboard’s original default sound(s). To connect the two computers, you’ll need Vienna Ensemble Pro, which acts as a sampler to host your samples from the ‘slave’ computer to your main computer.

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The more samples you have, the less efficient and longer it will take to work with your DAW, so many industry composers use a slave PC to save on CPU usage.

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For advanced users: you may also wish to utilize a ‘slave’ computer, which is usually a higher-end desktop PC or Mac Pro from which you can run sample libraries without using your primary PC’s CPU. If you can only afford one (since SSDs can be pricey), look to purchase an external SSD for storing your samples on the drive and for saving CPU usage. Optional: an internal SSD to replace your computer’s hard drive (resulting in more CPU power and less PC crashes) and an external SSD for storing your samples. A set of monitor speakers or headphones This space enables you to download samples that may require sizable storage space, and the RAM empowers you to work quickly and efficiently without lag time in your DAW A computer or laptop (recommended with at least more than 10% storage space remaining and at least 16GB RAM). A DAW, such as Logic Pro X or Pro Tools 12 (in many cases you’ll be able to use your VST as a stand-alone but for more functionality a DAW is recomended) Please refer to our Connectivity Guide for connecting your keyboard into a computer. A digital piano or MIDI keyboard with access to either a USB Type B port or a traditional MIDI connection common to older keyboards.

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