Creating Realistic Sample Realizations

I'm wondering what kinds of tricks you guys use to create the most realistic realizations of your music through instrument samples (EastWest, Vienna, etc.) Particularly in expressiveness, mixing, and overall production. I'm relatively new to the whole nitty-gritty, detailed as hell, approach to MIDI production and am looking for some tips on making my music as real sounding as is possible.

Thanks!

Also, I might add that I'm on a bit of a deadline. I've got a project I'm demoing to do additional music for (the director happens to also be an experienced composer/MIDI sample programmer) and he wants a very realistic sounding orchestral demo in a week.

Here's the key: velocity settings!

You can really create some emotional and organic sounding performances with proper use of velocities. Other than that, being mindful of the strengths and weak points of the samples you have at your disposal is also helpful. Experiment with orchestration. Certain samples sound great when blended with other samples and can really help create a sound that is warm and full of depth.

Finally mess around with tempos- pushing forward just a bit at some points or performing a slight retard at resolution spots. This can also help make your piece sound less computastic and more humanistic.

I hope that helps!

Nathan

Dynamic crossfade instruments. Any time you can use a dynamic crossfade instrument, you'll have an easier time getting a more controlled expression out of it.

Layering is vital as well, getting the best sound is as much about cohesiveness as it is about having a flexible and specific sound. I used to use just one sample library, but now I can't stand that kind of inflexibility, so now most of my work is spent layering multiple sample libraries together and making sure that they sound like they're living in the same space.

The ultimate piece of advice, however, is making sure that you treat your virtual instruments like actual players with personalities and egos of their own.

For example, I had a piece that used a lush string background and a solo flute. So I imagined that the conductor was following the floutist, which meant the floutist was a head of the beat at phrase starts just slightly because the director was following the floutist and the rest of the orch was following the director. That meant the conductor track was sloppy and emotive and the floutist was ahead ever so slightly.

This created a fairly convincing effect.

These are tricks you can use and probably should use if you can.

Thanks guys.

I went back and redid my demo with a majority of the suggestions you posted, as well as a few I researched and I'm pretty damn happy with the result.

The advice about playing with the start/end times of the notes was particularly helpful, and the slight tempo alterations added a nice subtle icing on the cake.