Mar 28, 2019 | Daily Film Scoring Bits, Technical
Mixing Volume Always mix your music at the approximate volume it will be in the movie later. The human ear has a different perception of balance depending on the volume of music. Especially the bass register is very sensitive in this matter. You tend to need way more...
Mar 21, 2019 | Daily Film Scoring Bits, Technical
Hiding Sample Shortcomings If you can not mock-up an instrument convincingly in a piece (that eventually will end up without recording of real instruments in a score) due to the lack of decent libraries or just out of the fact that this instrument can not be simulated...
Mar 14, 2019 | Daily Film Scoring Bits, Technical
“True Legato” Samples Lag When you’re working with true legato sample patches (where the transitions between notes have been sampled as well) be aware that depending on the instruments, the lines will always feel more or less late. Real players will always...
Mar 7, 2019 | Daily Film Scoring Bits, Technical
Sustains at the End of Film Cues You should always make sure to have long enough last chords/sustains in film music cues that are supposed to “vanish” into nothing as the fade-out time needed might be longer than you think. If you end too early, the fade-out might be...
Feb 28, 2019 | Career Building, Daily Film Scoring Bits, Technical
Technical Skills for a Film Composer Quite a few composers who want to work for film reject to work on their technical skills. Very often an argument like “John Williams got to where he is by just writing short scores on paper and demoing things on the piano.” While...
Feb 21, 2019 | Daily Film Scoring Bits, Technical
Remote Recording Sessions Many orchestral recording facilities/studios/services offer the possibility to do a remote session either via Skype, Source Connect or another form of audio stream where you as the composer can hear what’s coming right through the monitors in...
