Now it’s time for Intro to Orchestral Sample Libraries, Part V: How to use Modulation and Expression. In our previous lesson, Note Length and Velocity, we just started to scratch the surface on how MIDI programming can be used to make our orchestral sample work sound more realistic. We are going to keep the conversation going by now digging into the use of two key MIDI parameters, Modulation and Expression.
How to create realistic orchestral programming using Note Length & Velocity For part IV of my Intro to Orchestral Sample Libraries series, we’ll be talking about how to create realistic orchestral programming using note length and velocity. These two parameters in particular, “velocity and note lengths,” don’t appear to be discussed as much in other orchestral programming lessons (at least I never hear it coming up much.) I’m not sure why
It’s time for Intro to Orchestral Sample Libraries, Part III: String Articulations. When I first started learning about Orchestral Sample Libraries, I kept hearing about these things called “articulations” and, while I had a general idea of what they were, I found myself always stumbling over the meaning of each; this often made it difficult for me to know the best way to use them. While I did study classical music theory
This is my entry for the 2020 Westworld Scoring competition. Huge thanks to Spitfire Audio, HBO and everyone who helped make this happen – what an amazing opportunity and experience. I learned so much. #westworldscoringcompetition2020
I had a blast creating my piece, “Spark” for the #OutsideCompetition. Big thanks to Orchestral Tools and StaffPad for creating such a great opportunity for us all. Although I didn’t win the competition, Orchestral Tools still gave all who participated a free instrument from their Tableau Solo Strings series – how awesome is that? I chose the solo viola. It’s downloading now, so I’ll be back with a review shortly! Thanks again Orchestral
Now it’s time for Part 2 of my Intro to Orchestral Sample Libraries for Beginners series. In part 1, I talked about the difference between a sample library that is recorded Wet (including the sound of the room) vs a sample library recorded dry (no room sound.) In this post, I’ll be discussing the difference ensembles and sections. As a reminder, these Intro series post are intended for beginners: those
Orchestral sample libraries for the beginner | Part I: Wet vs Dry. This will be my first in a series of posts where I share some of the key concepts that I use when composing and producing orchestral-based music using orchestral sample libraries. Please note: This series is orchestral sample libraries for the beginner. If you are just getting started, and you’re interested in learning more about how to compose orchestral
Sonarworks Reference 4 review and explanation of what it does. I can still remember my early days of recording in my parent’s basement. It was on a 4-track Tascam recorder back then. I’d spend so much time working on the mix: trying to get the low-end to sound deep enough without being muddy and the high-end crisp, but not too brittle or thin. Then, I’d mix down to a cassette
Platform Desk Review and Set Up. I’ve had my eyes on the Platform Desk by Output for awhile now. After many years of using an office desk for my studio desk – with my monitors sitting on top of a board propped up higher with other boards; with no good space for my rack gear (had to store it under the desk and crouch down to access them); and with
How to Soundproof a Door When approaching the soundproofing your home studio, the door can often be the weakest link, and therefore the most critical to get right. While the walls, and even windows, can be airtight and sealed, the average interior home door is the one place with openings to the outside. Even that small space between the door and the floor is enough to leak out (or in)