Nov 23, 2018 | Daily Film Scoring Bits, Orchestration
Optimal Range for Timpani Timpani sound best between the f below middle c and the f one octave lower. Even though their range exceeds that limit, in the very lowest register the membrane needs to lose so much tension that the sound gets muddy and unfocussed....
Nov 22, 2018 | Daily Film Scoring Bits, Technical
First Chair Simulation in Mock-Ups A good way to make loud brass chords in the same family (e.g. a triad in the trumpets) sound more realistic in mockups, is to have the top note playing with a slightly stronger dynamic than the other notes. In real orchestras, this...
Nov 21, 2018 | Composition, Daily Film Scoring Bits
Subconscious Plargiarism Another issue that bothers practically every composer once in a while is to subconsciously plagiarize existing music. Everybody writing music knows the feeling of asking oneself the question of whether that isn’t something everybody knows...
Nov 20, 2018 | Daily Film Scoring Bits, Film Scoring
“Bridgeing” Hit Points When you need to score a scene that has several important points you need to hit and highlight, it is a quite effective way to first create a proper tempo map for the entire scene. So before you write a note, you should have the cue...
Nov 19, 2018 | Daily Film Scoring Bits, General, Working Together
Waiting for Feedback Every well planned work schedule with lots of planned in buffer time for edits and perfect work discipline can get absolutely chaotic when you need to wait forever for feedback on cues. Some clients have just so much to do during the post...
