Requirements To Create Orchestral Music

What you need to get started.

Are you ready to start your orchestral composer journey? We've got you covered! 

We've put together this handy guide that will tell you everything you need to know about hardware and software requirements for starting to produce orchestral music.

Good news first: You don't need to live in LA or London to create orchestral music. Anyone can do it from home.

However, there are some things that you need in order to pull it off. Below is a list of requirements for software and equipment you should have. We’ll discuss each in more detail below:

• Computer/Laptop
• Audio interface
• MIDI Keyboard
• Headphones or speakers?
• Digital Audio Workstation (e.g. Cubase, Logic, etc.)
• Sample Libraries (VSTs) and Plugins

Computer Requirements - The Composer's Tech Triangle

CPU, RAM, storage. Keep these 3 words in mind when thinking about your workstation. 

You'll need a powerful computer if you're serious about orchestral music production.

Pretty much every PC or laptop can host a Digital Audio Workstation with virtual instruments (VSTs). But orchestral music production is different in this regard. We'll be using orchestral sample libraries. You'll learn about what they are and why they matter below, but know that orchestral sample libraries are enormous in file size and hungry for RAM.

CPU, RAM, and storage make up the composer's tech triangle for computer components.

Do you need a good CPU for music production?

Not necessarily, but it helps a lot for a smooth workflow.

The CPU is your computer's brain and processing power. The more things happen simultaneously, the more CPU you need. A typical CPU-heavy task in orchestral music production is the playback of your track inside your composer software or Digital Audio Workstation (DAW). You will have dozens of instrument tracks that not only turn your MIDI notes into music. There are also processing effects applied to them to increase the sound quality of your mix. All of these things require CPU power. 

Symptoms when running out of CPU: Stuttering/Crackling during playback, high instrument latency. 

 → Saving money on a CPU is not advised. Hearing your carefully crafted composition stutter is frustrating and limits your capabilities to write the music you deserve. Get a computer or laptop with the best CPU that your budget allows. Both Intel and AMD are fine. Apple M1 is a beast but check compatibility with your software because the platform is still new. In general, a desktop PC offers more CPU power for the same money compared to a laptop.

Luckily, you can do a few things to optimize your setup, even if you are CPU-limited.

How much RAM do you need for orchestral music production?

Enough RAM is another necessity for writing orchestral music. When loading virtual orchestral instruments or sample libraries, their content (aka the building blocks you will craft into a song) is loaded into RAM or rapid accessory memory. 

One sample library patch usually needs between 50MB and 1GB of RAM. However, many orchestral libraries have multiple patches, for example one patch for the violins, one for the cellos, etc. This will significantly increase the RAM required to fully load all instruments from a library.

Due to different situations in my life, I've had various composer setups. They ranged from 8GB of RAM, where people told me it's impossible to write orchestral music, to 128GB of RAM, which is getting close to overkill.

Based on my experience writing orchestral music (both classical and hybrid cinematic) with an 8GB laptop, 16GB laptop, 32GB mini PC, 64GB desktop computer, and 128GB desktop computer, here's my guideline for you.

8GB - The bare minimum. Nerves of steel and high resilience to frustration are required. The low RAM directly affects workflow and slows you down. You're highly limited in instrument number and sample library choice. And you're in danger of losing progress due to frequent crashes. But it's possible to create entire orchestral tracks, and I've done it for months when starting out. 

16GB - The realistic minimum. If you can, do yourself a favor and don't go below 16GB of RAM. You'll still need to be careful when adding more and more instruments to your song project. But you have a decent start and can upgrade later when you can.

32GB - Many things are possible. You can load an entire orchestra and focus on writing music. Building larger templates with more instrument options and layering instruments will quickly push you to the limit.

64GB - The sweet spot. You can focus on creating music without worrying much about crashing your system. You can use hundreds of instrument tracks and whatever sample libraries you want. Layering multiple libraries is possible but might reach the RAM limit.

128GB - You're covered. Seriously. You can load more Kontakt instances than you have sample libraries (unless you suffer from a severe case of Gear Acquisition Syndrome, GAS). There is little to no chance you will ever run out of RAM during a project unless you deliberately load everything you have just for the sake of it. And even then, it'll be hard.

>128GB - Above and beyond. Really?! It's beyond what most consumer mainboards support. A separate slave PC setup might be more feasible. Only interesting for working professionals with gigantic orchestral templates.

→ Buy as much RAM as you can with your budget. The more, the better. Make sure it fits your mainboard type (DDR4 or DDR5) and go for trusted brands.

Symptoms when running out of RAM: Computer crashes, software crashes, loss of unsaved progress.

You can do some things in your Digital Audio Workstation to save precious RAM.

What about storage?

The third aspect of our requirement tech triangle is storage. Orchestral sample libraries are among the largest out there. The file size of one sample library spans from <500MB to over 100GB! 

Libraries with particularly abundant instruments, articulations, or microphone positions like Spitfire Audio BBC Symphony Orchestra Professional require a whopping 600GB on your hard drive. And I am pretty sure you won't just use one sample library during your composer journey (remember the GAS I mentioned before?).

You'll want to use fast SSD storage for your sample libraries. Luckily, prices have gone down a lot in the last few years. If you're budget limited, you can use your trusty HDD, but loading times will be significantly longer.

2TB of SSD storage should be a solid starting point. I started with 500GB, upgraded to 1.5TB, and am now at 5TB. Internal and external SSDs work well, and M2 NVME drives should give you a nice speed boost if you can afford them.

“Does music sound better on SSD?” some people ask. No, it sounds exactly the same. But you’ll be limited in your tools to write great-sounding music with not enough disk space.

Symptoms when running out of storage: No more sample libraries can be installed on your computer :(

→ Get 1-2TB of SSD storage if you can. You can always upgrade later, as sample libraries can be moved between drives (make sure to update your file paths).

Audio Interface

An audio interface is a piece of hardware that allows you to connect your computer to external instruments such as microphones, guitars, keyboards, and so on. Most audio interfaces also feature multiple inputs and outputs so that you can record multiple sources at once.

Some people record using just their laptop and headphones, which can work well. But even if you are not likely to record external instruments, you should probably still get an interface. 

They have many advantages over using your computer's built-in sound card. For example, they have better preamps (more gain), better converters (better quality), and more inputs and outputs.

The average budget for an audio interface is between $100-$300, depending on the number of inputs and outputs you need. The Focusrite Scarlett series has a good reputation, and I'm also using one. The Scarlett Solo or 2i2 should be enough for most home composers unless you need more input/output ports.

MIDI Keyboard

MIDI keyboard controllers let you control your DAW and virtual instruments like pianos, strings, or drums in your studio.

The controller can be connected to your computer via USB or Bluetooth. The software will convert your key presses into notes or other commands. This allows you to produce music with just one hand on the keyboard!

You can use your computer keyboard or mouse to control your software. Still, it's much faster and more precise with the MIDI keyboard because you can actually play melodies in, allowing faster recording (or even just for testing sounds).

Most MIDI keyboards have at least 25 keys, but some can go up to 88 keys. Whether you're a pianist or not: A MIDI keyboard will speed up your workflow when recording melodies and navigating your project sessions.

When shopping around, you should think about:

• How many keys? For most composers, 49-61 keys are a good compromise between portability and usability. 25-32 keys work if you're on a portable rig and need a lightweight solution. 61-88 keys are popular among composers who are also pianists, as with these you have a large playable canvas to express yourself.
• Weighted Keys? Weighted keys give you more control over the volume of each note by giving them a realistic weight when pressed down. This makes them feel more like real piano keys than plastic buttons!
• Buttons/Faders? Do you need many assignable buttons and drum pads, or does a simple keyboard do the trick?
• DAW compatibility? Most MIDI keyboards work with all common DAWs. Still, some have excellent integrations with many pre-configured functions that might turn the tide in your purchase decision.
• NKS support? If you're deep into the ecosystem of Native Instrument's Kontakt samplers, their proprietary Komplete Kontrol keyboards have many integrations with Kontakt sample libraries. If you don't use Kontakt libraries, don't bother.

Budget: You can find MIDI keyboards for as little as $50 on Amazon. But you probably won't get much out of them unless you're just trying out if this whole composer thing is for you. 

If you want something with better quality components and features, expect to pay between $100-$300 for a good model that will last for years without breaking down on you. Premium models with 61 or 88 keys range from $500-$1000.

I'm using the Komplete Kontrol S49 and like it a lot. Still, I also had a good experience with the Nektar LX25 as my MIDI keyboard choice for traveling.

Headphones vs. Speakers

The debate over whether to use headphones or speakers in orchestral music production can be heated.

Both have pros and cons, and both can be used successfully by producers. It's up to you to decide which is suitable for your setup.

Personally, I use headphones. Mainly for portability reasons.

In general, speakers tend to be favored for music production. Mainly because they give you a better spatial impression of how your compositions sound in an actual room. It provides a better image of your music being performed before you.

The sound reflects from the walls and creates a sense of depth. This is great! However, the sound's quality also depends on your room's acoustic treatment. And if that is poor, your results will probably be less accurate than on headphones.

The most apparent advantage of headphones is that they allow you to hear every detail crystal-clearly, making it easy to find any problems with the mix. You can also make precise adjustments without worrying about disturbing others in the room. This is ideal if you work from home or in an office where people are likely to work quietly at other desks.

The downside is that your headphones may not be adequately calibrated and designed for mixing purposes (i.e., they're not "flat"). Then they could boost specific frequencies and cut others out of your mix, leading you to make bad decisions about what needs fixing and where.

They are a great choice if you can get decent studio headphones. The most popular choice among orchestral composers is probably Beyerdynamic DT990 Pro and DT770s, as well as Sennheiser HD 650's.

Regarding the problem of each headphone model coloring the sound differently, there are plugins to help negate that effect, for example, Sonarworks Reference.

Headphones like the Slate VSX come with technology that emulates different listening environments and frequency profiles.

The primary purpose of a pair of headphones is to isolate you from the environment and allow you to concentrate on your music. And especially when you're on the go and don't have one music studio that stays at the same location for years, they are an excellent choice.

Professionals have composed and mixed high-class albums entirely on headphones. So, you'll be fine :)

You can spend hundreds of hours comparing models to the degree that it prevents you from writing music. In my opinion, this is not worth it.

I'd recommend using a solid speaker or headphones model used frequently by fellow composers. It's going to be okay! I'm currently writing production music for TV with a pair of DT 770s.

Digital Audio Workstation (DAW)

The term Digital Audio Workstation (DAW) is ubiquitous whether you're producing electronic dance music, hip-hop, or orchestral music. DAWs are an essential part of modern music production, and you'll need one.

Several software programs fall into the DAW category, and each has its own pros and cons as well as its passionate advocates and opponents.

 There is no single DAW "best for everyone."

A digital audio workstation is a specific computer program that allows you to digitally record, edit and mix sound.

Here are examples of commonly used DAWs by composers:

• Cubase
• Logic Pro
• Studio One
• Ableton Live
• FL Studio
• Reaper

The question I hear most often, especially by beginning orchestral composers, is: "Which DAW should I use? Logic Pro or Cubase...or maybe even Studio One?" They usually want to know which DAW is the best and not make any mistakes. DAWs are not really famous for being cheap.

The good news is that each DAW is suitable for writing orchestral music with industry-standard quality.

Do your research. But don't overthink the decision.

Here's my take on the main characteristics of the most frequently used DAWs. Personally, I've started out with FL Studio (an exotic choice for orchestral work but still capable!) and am currently a happy Studio One user.

• Cubase: Most established DAW for orchestral music. A bit bloated with features due to years of being updated and expanded. 
• Logic Pro: Mac only. 
• Studio One: Intuitive drag & drop workflow, sleek interface, catches up with Cubase in terms of features.
• Reaper: Very affordable, highly customizable, very powerful, a bit hard to get into
• Ableton Live: Known for live performances. Interesting instrument rack workflow.
• FL Studio: Known as a sequencer for beats, it focuses on modular workflows that can be cumbersome for orchestral music.

Sample Libraries & VSTs

Sample libraries are an essential, relevant, and fun topic for every orchestral composer.  

It's sample libraries that turn your compositions into beautiful music!

In short, they are recordings of real instruments mapped to your keyboard so you can play them inside your DAW. Imagine playing your MIDI keyboard, and you hear a beautiful, realistic-sounding violin section.

Every composer needs a palette of sample libraries and virtual instruments that fits their writing style and workflow. You'll write down your musical ideas efficiently and hassle-free with the correct sample libraries. Some might even inspire you to write things you'd have never even thought of. Others might hold you back because they don't match your workflow and lead to a frustrating experience.

Your purchase decision should be well-considered.

Because of the huge importance for your music production and workflow, this guide dedicates an entire chapter to sample libraries, including recommendations for beginner orchestral composers.

Now that you know the technical requirements for writing orchestral music, we’ll introduce you to your new family: Meet the orchestra!

Learn more