- May 24, 2018 at 3:56 pm #30175
Without the derisive laughter 🙂 what would be a likely learning curve for someone who is pretty well versed in theory to start writing some orchestral minimal tension cues ? And do we think the ones available through East West subscription will cut the the mustard qualitywise….doesn’t need to necessarily mean Hollywood Strings.May 25, 2018 at 6:36 am #30180
I think that you should go for it. In my experience, whenever I have written something in a non familiar genre, the first few cues are no good but if you keep doing it it starts to get better. Listen to a lot of real orchestral music and study a little counterpoint. East West is good enough to get started. Good luck and have fun !!!May 25, 2018 at 9:16 am #30181
Thanks, I appreciate . Yes it is in response to a need. I’m getting to a point where I am only writing to specific needs, adn to satisfy my other side, will write more artist related tracks, and trying to keep those licenseable . Going back and doing some songwriting also, which is something used to do before I went al completely “library instrumental”. Seeing now it is possible to do both.May 25, 2018 at 9:25 am #30182
I’d say go for it Chuck. Robin and I write in many different styles and some of those have been very successful, in terms of money earned.May 28, 2018 at 3:44 pm #30191
In all seriousness, Chuck, and this is not snarky or derisive, I’ve spent a lifetime learning to write orchestral music and have a long way to go. I try to improve every day.
The Principles of Orchestration by Rimsky-Korsakov
The Study of Orchestration by Samuel Adler
The Professional Orchestration Series by Peter Alexander
Composing Music for Film by Jack Smalley
Yes, the East West subscription libraries should work.May 29, 2018 at 3:51 am #30192
There are some elements when I am listening to a library brief for tension tracks, though, that , although they are asking for light orchestral tension, there are elements that don’t seem to be traditional orchestral things happening. Not going to post the link to their briefs, so about as close as I could find this morning, was something like this. Specifically I am referring to the percussive elements they are using. Any clue what some of this instrumentation may be, beyond obvious “string section ” parts.May 29, 2018 at 6:24 am #30193
A filtered drum and cymbals. The lighter instruments sound like they are from Cinematique.May 29, 2018 at 8:22 am #30194
You can’t go wrong with Omnisphere, IMHO, for adding touches subtle or bold.May 29, 2018 at 9:55 am #30197
You can’t go wrong with Omnisphere, IMHO, for adding touches subtle or bold.
Zebra is also good.May 29, 2018 at 10:14 am #30198
Chuck – the “good news” is that I wouldn’t really consider that “orchestral” music. It has orchestral elements, but the approach and sounds are more pushed towards electronic than orchestral. If you want to write that kind of music, get yourself a few good synths, some great percussion libraries (not drums, percussion), a good string pad – and just follow your instincts. Good to go.
The “bad news” is – as Michael described – a lifelong pursuit if you are trying to write true orchestral musics.May 29, 2018 at 10:54 am #30199
Good take on this Chuck.
As others have said the video just has a few orchestral elements, Symphobia is on sale now maybe worth checking, basically pre baked sections which sound great.
Having seen and witnessed orchestrators on film scores do their thing, its a life long learning curve really. What I guess you are aiming for is to add orchestral textures to tracks to give a hybrid type sound.May 29, 2018 at 11:02 am #30200
+1 on Symphobia. Very helpful.