Apr 19, 2019 | Daily Film Scoring Bits, Orchestration
Excessive String Divisi Many composers coming from the sample world tend to use massively split up string sections. Things like triads in the violas alone, several different violin movements at the same time etc. are very common. While this might work in the sample...
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...
Jan 10, 2019 | Daily Film Scoring Bits, Technical
Key Switches vs. Many Tracks The majority of sample libraries nowadays rely on so-called key switches. By triggering a (usually very low) note outside of the range of the instrument, you can switch to another articulation of the same instrument (e.g. switch between...
Nov 15, 2018 | Daily Film Scoring Bits, Orchestration
Dynamic Shaping of Sustained Brass Brass instruments have the greatest timbral change over their dynamic spectrum. Therefore swells, crescendos, sffz, fp are highly dramatic and very effective on them. If you use long sustained brass chords or tones on key parts of...
Oct 4, 2018 | Daily Film Scoring Bits, Technical
Demo Mock-Ups The media world nowadays doesn’t work anymore without detailed mock-ups (aka sample produced demos) of cues. The times when composers just presented their ideas on the piano and the directors trusted them that it will sound great in the end are over. If...
