May 10, 2019 | Daily Film Scoring Bits, Orchestration
Practice Working With Limitations As a learning orchestrator and composer you should practice a lot to work with limitations, especially if you want to eventually work with real musicians. While it is great to know how to write for a huge orchestra with all...
May 9, 2019 | Daily Film Scoring Bits, Technical
Varispeed For Tuning By now, most film scoring studios have the technical possibility to use Varispeed to compensate for the standard a= 442 or 443 Hz tuning of a normal orchestra by recording at a slightly higher sample frequency and tempo than what the actual...
May 8, 2019 | Composition, Daily Film Scoring Bits
Influence of Sample Limitations on Composition A lot of what defines today’s style in commercial orchestral music is actually defined by the limitations of samples. Certain things clearly can be pulled off more realistically with samples than others. This was even...
May 7, 2019 | Daily Film Scoring Bits, General
Satisfying the Customer vs. Satisfying Yourself Quite often clients will be pleased already with quite mediocre products and many composers develop a habit of saying “The customer’s happy, that’s all that counts.” While from a purely business-related viewpoint this...
May 1, 2019 | Composition, Daily Film Scoring Bits
Alternative Chord Structures The structure of having a chord consisting of root, third, fifth etc. is nothing that is written in stone. Alternative chord structures may have a very interesting and useful sound and still sound like a fully working chord. A nice field...
