Writing for the real, AND virtual players

Let's be honest: when writing a piece for a real ensemble or orchestra, we know that it will probably remain in the realm of virtual instruments. Our piece will never, ever be performed by a real orchestra.

I had the honor and pleasure of having some of my pieces performed by real players. Very skilled musicians, sometimes among the best players for that instrument. Yet, this is something that can only happen in some special events for most of us.

The rest of us will, most of the time, continue to listen to their works from virtual performers and instruments.

That means that we have to find a balance between writing for real instruments, and at the same time make accurate prototypes, that will have to be considered an alternative form of the final piece. Our piece has to sound great both when read by real performer, and when performed by our samplers.

We write for virtual orchestras. This is no longer to be considered a second choice. Virtual orchestras very often go into feature films released in major theaters. Virtual orchestras are a real instrument, even if the human content is just that of the musicians who recorded the samples, and the composer that created the virtual performance.