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This is incredibly kind, thank you! It’s sometimes hard to justify the time and effort to make these, but comments like this make it worth it!

That’s incredibly kind of you to say. I’m glad you enjoyed it!

Cubase! And somewhere in these comments I’ve listed a bunch of the libraries I use.. I also listed them in a Q&A video on my channel! It’s a lot 🙃

Thanks for watching!

It’s how I’ve always felt!

@@jessehaugen Loved watching this video! I've just started getting into the scoring scene and it's nice to be able to see other composer's processes, so thank you!

@jkamp_music my pleasure! Thanks so much for watching and best of luck

@@jessehaugen Thank you very much!

You should!! Thanks for watching

Thank you! So glad you enjoyed

I’m so proud of that opening too! It means a lot that you’d say that, so thank you!

From the video description: 25:10 - Live orchestra (with video of the session) 27:22 - Final mix (with sheet music)

Thank you so much!

Ah yes, just like all the “hot dog eating contests” where the hot dogs are in the process of eating for a contest 😂 Lock me up!

Thank you! Appreciate you watching

Awesome! Yes we have plans for driving muted stuff like that as well as one shots (up and down strokes in round robins)! Thanks for the insight

I’m so bad at it haha Honestly, I’ve gotten better at it in the last year or so as I’ve had a little more opportunity to work on pop songs and other things that are more standalone music type stuff. It’s helped open my mind and given me an excuse to write outside of context or picture. But yeah, definitely something I’ll keep working on! Let’s both get good at both!

My pleasure! Thank you for watching!

100%

This is all super helpful, and sort of the comment I was fearing haha The exponential increase of work going from just maj/min chords into even more variations is crazy. I think we’re going to start pretty simple and grow from there, BUT I’m going to give this more thought after your comment. My first demo actually included a muted layer at the very bottom, and it just didn’t really feel good in use. Our solution is we will have certain patterns where the bottom layer is muted instead of the kinda picked out thing I did here, but it doesn’t make sense or feel natural for every pattern. thanks for your thoughts! Can’t wait to share what we do

@@jessehaugen I figured as much, I'd be fine with Maj/Min to start with. Open 5th would still be awesome cause you can underlay it a lot of different chord types (besides diminsihed of course). Also totally understandable that muted does not work on all pattern types. But the teaser is very promising.

Thank you! Yeah we’ll definitely have maj/min and some pattern specific open 5ths to start. Really appreciate your insight

Thank you so much! I totally agree, and I’m really hopeful with what we’re trying to achieve with this. Do you have any recommendations for patterns or features you’d like implemented?

@@jessehaugen Being able to create your own strumming patterns, in addition to those supplied, would be a very good feature. If you can do that, then you'll have more than enough bases covered.

@jimrogers7425 yeah we’re planning on doing round robin one-shot chords for you to manually play in your own patterns!

This is a really good question, and I think it's important to think through. I've often noticed the same thing, and I have two guesses as to what's going on: 1) I do an overall compression on my video as a whole in post which includes not just my voice mic, but also the recorded screen audio. So, while it's true for me to say I didn't do any processing in the DAW, technically the sounds you're hearing ARE being compressed along with all the audio in the video. This means, at the very least, it's going to sound louder in my video that your DAW. I also use a channel strip compressor for this, so it probably also has some nice subtle saturation going on. So yeah, just try adding some compression and I think you'll be closer to what you hear here! 2) This answer feels suuuuuuper pompous and lame to type out, but I feel like no one talks about it. I used to have the same problem you're describing literally with another composer in the room. A guy I was working for would show me a new library right in front of me and it sounded amazing, but when he scooted over for me to try it, it fell flat. There is an art to playing samples, and it's something I've been working on and honing for years. Not sure that contributes here, but I do think it's worth mentioning!

@@jessehaugen Thanks for your fast and detailed answer ! The "art of playing samples" is super important and many people tend to disregard it completely or even sweep it under the rug like it's not even a topic. The only people talking about it generally limit that to "learn to play the piano" but it's not enough at all to use libraries correctly at their maximum potential. In any case, I'll try adding some slight compression but it's a matter I'm not yet very comfortable with ^^" If you've got any recommandations, I'll be pleased to ear them !

@@ExploratoriumTP of course! Happy to help. And don't be scared of compression! Honestly, throw on whatever stock compressor your DAW has and just crank it to hear what it's doing (using the gain or input knob). Then, just dial it back until it sounds good to you!

@@jessehaugen Thanks again for your help !

9/10 times the default mix works for me! When I need to go in, it’s usually just for some closeness so I’ll adjust accordingly.

@@jessehaugen Thanks man! And sorry just to confirm, when you say default mix do you mean just the tree mic or other? I just bought the ensembles now a la carte (wow what a sound), and there's a ton of mics but no actual "mix" mic.

@hzambrana I mean whatever it defaults to when you load the patch!

Gotcha thanks :)@@jessehaugen

Thank you!

Shoot me an email: jessehaugen@notemuse.com

Eyyy there we go! Glad this helped man 👌

Nope! Kept those samples. Hard (and extremely expensive) to replicate the cinematic drum thing live

Ooo that’s a first for a comparison! I need to go back and check out that score

Oh thank you!!

Thank you so much!

Thank you! Really glad you enjoyed it. That’s not a bad idea for a video; I’ll consider it!

When that film comes out I can probably do that! I typically just think of things in layers from a frequency perspective. The simplest, most grounded parts go low and infrequently, the busiest parts go high and are more subdivided, and then its variable in between. That's obviously not a holistic understanding, but its a good starting place!

@@jessehaugen That's a super helpful way to explain it thank you for taking the time to reply!

Honesly SO incredibly cool to hear this. I'm so thrilled for you and honored to be a part of that journey! Thank you for sharing!

Could you tell me how you got started with work?

@@Millennium_audios Sure. I started scoring (short) movies only ywo years ago - as a hobby, so I did not charge. Also because I'm still learning. More recently I came in contact (via facebook) with a Dutch filmmaker (I am Dutch too) who has a company in California. He wants me to score a 90-minute film - and he has a budget for it. So this will be my first paid job. The only advice I can give is: widen your network and do not worry if you have to work for free at the start of your career. Consider this as part of the learning process. If you're good enough some more (paid) opportunities will come along. Good luck!

@@iamfrankbiesta Interesting thank you for the advice! How did you find movies to score for free?

My pleasure! Thanks for watching!

Thank YOU for a great library!

Please come back to Kontakt :/

haha agreed!!@@montazownianr1

Thank you so much! That means a lot.

Yeah I get it man haha To me, this occupies the very natural and “live” space that ISN’T traditional orchestral. I feel like the usual perc libraries (like the ones you mention) are either super processed/hyped/punchy cinematic perc or natural orchestral perc and this one kind of threads the needle as a very natural but not traditional perc library. That said, if you have all the others do you NEED this one? I dunno…. If you got this would it have a place in the mix? Yeah prolly

It got me a click AND a comment 🤯

What's clickbait about it? Great video btw Jesse :)

Thanks man 🙏 I think he didn’t like that I suggested it was the best perc library ever. Even though I reinforced that claim in the video..

It totally is the best perc library ever tho loll. Nah obviously a matter of opinion. But I'm literally downloading this a la carte right now for the processed drums. Amazing instant epic sound and feel.@@jessehaugen

Enjoy!!

I’ve been accidentally ripping off that score for over a decade 🥲

@jessehaugen Totally fine! It has some beautiful short phrases that flow naturally. I'm sure it's everywhere. As far as your channel goes, if you have any interest in Japanese music theory for score writing, that's something I'm diving into in my personal time. Not exactly Hisaichi-like, but influences around his music. I'd like to know more about less common chord borrowing in abstract placements. To share more interests: I'd like to find more content on the full composition process, inside the mind of a composer working actively on recordings. Stemming from composers like Masuda from Pokemon, I'm most curious on how the arrangers make his music even more extraordinary. I believe he has two main arrangers for most of the Pokemon games.

I wanted the B version so bad because it has phantom! They’re great boards, you should absolutely do it!

Hey thanks! I need to pin the comment if I can find it, but somewhere in here I’ve answered that pretty fully. If you go digging you can find it. I also showed most of them from back at the time of that video in a Q&A video here: ruclips.net/video/HZCylNQ2_WY/видео.htmlsi=S0AQIAmbKWtGtn0G

Thank you! I’m glad you enjoyed it. I created the sheet music with a software called finale and my process usually includes: cleaning up and quantizing all midi, exporting midi and importing to finale as a starting point, and then adjusting/orchestrating/etc to create the sheet music I’m looking for. It’s a completely different skill set than mocking stuff up and something I’m very thankful I studied in school!

Thank you so much! I’ve actually been trying to figure out if I should use MuseScore or Finale but now I know. I better get learning!

@raspberrybubblegum2 please don’t take my answer as an endorsement for finale haha Finale is my curse to deal with all my life, but if I were to restart, I would probably do musescore or dorico!

Haha, noted. Thanks again, and keep doing what you do!

Thank you!

yeah my pleasure, thanks for watching! This is a great question, and here's my boring answer..... just tempo map as you go! It won't lock you in and you can change whatever you want as you write instead of trying to fit into the prison of temp you've made for yourself by going through the whole video first. My general philosophy on this is find a general tempo that feels good for everything and then just make slight adjustments as you go and write throughout the video. I never go through and tempo map to hit points and everything before writing. I have them in my head, sure, but that's it!

@@jessehaugen That.... is so simple I almost feel stupid, haha 😅 Will be doing that from now on, thanks a lot for the reply!

@KennethMalmMusic hahaha nah, don’t. I often accept things as a given that can simply be changed or ignored 🙂

Thank you! Glad you enjoyed it. A template video is definitely on my list of ones to make, so it’ll happen eventually. To answer your question, yes. DIV was for the divisi parts, but it was just a distinction for orchestrating. I didn’t actually have half the players in the section or anything. When I know it’s going to be live, I do my mock-ups as close to 1-to-1 as possible to make notating easier/faster later. Normally, I wouldn’t even have divisi parts in my mockup and would just duplicate the track (which is all it is in this case) or use a different library for the other layer.

great info, thanks @@jessehaugen !!

Thank you so much! I really appreciate that. Glad it’s helpful for you! I’ll do more for sure

one thing that I would love to see a video on how to do is: how to take a project from midi and bounce to audio and then mix the project. I don't know much about mixing at all but I've heard that you need to make audio stems and then level and mix from that point. any help with this would be appreciated . @@jessehaugen

@jswebbproductions9785 when I mix myself, I actually don’t do that! I just mix directly from my midi tracks. But honestly, more often than not I hire a mixing engineer for my projects!

oh ok....thanks for letting me know! look forward to checking more of your stuff out!! thanks again @@jessehaugen

I really appreciate this feedback! The walkthroughs are the hardest to make because it’s so rare that I can actually share video of my projects on RUclips, but any time I can I will definitely be making them! I really love doing it and I’m glad it’s so helpful. I’m also glad to hear you’d be okay with them being longer, because I feel like I always make them too long haha