These are all super valuable tips, thank you for sharing these with us Paul! Also I'm really excited to see the performance improvement of the Spitfire Player! :)
Thank you, I really enjoyed that. When it comes to skill, technique and even basic resources, I'm at the bottom of the ladder. I came to music making late in life and do it just for the sheer pleasure of it. However, I do try to improve what little skill I have every time I sit at the keyboard (which I can't play!) and am always looking to improve. It's encouraging that even someone with you abilities, Paul, are also always seeking to get better.
As an old saying tells, winter will be cold in the UK, the neighbor is cutting wood with a chainsaw in the distance.... 😁 More seriously, having less CPU usage in the in-house player is a great thing, not all of us have a new super powered computers, each %age is good to gain.
Haha!! Yes next door stocking up! And this is a really significant CPU gain, it will be really interesting to see what people report on their own systems.
I love that book, "The Creative Act." I retyped the entire thing in Microsoft publisher and mounted it onto a 80"X36" Picture frame so I could stare at it while I compose.
Another great video! For me the #1 thing that greatly improved my compositions was having a very good orchestration teacher. I cannot stress the importance of well thought out orchestration. The other aspect that really helped me is deep dive score analysis of all the greats both classical and contemporary film scores. When you start seeing patterns that all of the big (and small) names share in their compositions, you really start to think "wow" and have a clear idea of how they composed what they did and why. Edit: I should say I still practice these things weekly. Never stop learning new ways to look at your old work!
Great tips thank you Andrew! There are definitely time tested things that work. In fact its the same deal in arrangement for songs. Good arrangements make such a huge difference, and its all there to learn from.
@@PaulThomsonMusic So true! Thank you Paul. In my mind it's akin to theme and variation but with timbre. Keep up the awesome work! These educational demonstrations help keep the mind thinking.
1,300 on the Geekbench score is for a single CPU core. Mac Pro 2019 multi core is still at the top tier of benchmarks. Logic Pro has fantastic multi-core performance.
Proper gold nuggets, Paul, thank you very much for mentioning those! Some may sound obvious to the seasoned musos, but ultimately all of us need a refresher and getting reminded that we are never arrived, on the contrary!
Great tips, Paul! I particularly connect with #4 (develop a signature sound - always sample sounds you hear and do fun things with them) - and as I was listening to you say that, I could hear what-sounded-like someone with a strimmer/weed-whacker (possibly a lawn-mower?) out in your garden haha! I thought "I hope someone is recording that for Paul!" :D
@@PaulThomsonMusic It’s an awesome book! I have the Issu version but really struggle with that Interface so I’m thrilled you decided to make a print version 😃
Thanks Paul, some great advice. Nice to know that even (former?) organists still need to brush up and take courses to improve their keyboard skills. And are willing to talk about it openly.
Thanks! Yes absolutely - In many ways I'm pretty rusty cp to when I was at school.. I used to burn through some serious organ rep that I can't play now! (Alain Litanies for ex!)
Paul is absolutely right, you can go around and try to cut corners, but without music theory and orchestration knowledge, its going to be hard to write music. And its never too late to learn!
Hey Paul, Thanks for the book recommendations. I ordered your book yesterday and it will come tomorrow. I was happy to see the hardcover book as I am a bit old fashioned and don't read e-books. I ordered the others as well, so they owe you a commision 🙂
Paul, I am one of those composers who don't read music and I really have an honest question about reading music. But let me first say that I started the cinematic/trailer composing journey at age of 41 (Feb 2020). Now, 45! I am not new in music in general. I was a bassist in a rock blues band from 1997 to 2002 when I graduated from computer science. Now, about reading music. I learned reading music and yes, it's not a rocket science. But also it didn't give that power that you're talking about. In other words, it didn't add much to my existing humble orchestration knowledge. I would say the only power it gives you is when reading the masters' scores and learn from them. But again, why learning them? I am not gonna write a symphony or a chamber music or film score anytime soon. I am barely an "epic" hybrid orchestral trailer or soundtrack writer who got some library music tracks and few placements. Also, the pure traditional John Williams orchestral music is no longer popular in today's cinematic music. All modern cinematic tunes involve a mixture of electronics (synths) and orchestra with simple non-complicated scores or melodies or even counter melodies. Film scoring? The reality says that it isn't and will not be for me because of a couple of factors. 1) It's hard to break into and 2) Film studios already got their in-house composers. It's so unfortunate that most beginners start their composing learning journey and join this realm thinking that they will do FILM SCORING and it's easy and I was one of them. They end up writing library music for trailers or documentaries, which is not bad at all and I LOVE IT but it doesn't really require a "music reading" skill which is my main point. HECK! I even can't buy libraries such as Albion Solstice or Tundra because they are more of scoring sounds than anything else especially scoring drama and I tried many times to imagine or think how these libraries fit in my projects. Please don't get me wrong! I ADORE these Albions but if I am gonna buy them, I will buy them just for my own entertainment not for business. Finally, even Drama TV is not using library music. Most projects that use library music are trailers, documentaries, reality TV and commercials. And it's not me who says that. It's the music libraries who say that. Sorry for the long read but I just really wanted to ask that question because I am so ready to hear a reason or two to convince me enough to read music.
Great tips for the signature sound section and using unconventional means to achieve certain sounds or atmospheres. I would add that it is equally important to try and NOT use effects and sounds which could be considered musique concrete and try to create atmosphere strictly with orchestral and other “conventional” instruments. See if you can score a horror film using only strings, etc.
Excellent video Paul. I would like to suggest another book for anyone wishing to expand their harmonic vocabulary. It's something that you can spend years learning from (I've been working out of it on and off for over a decade). A Creative Approach to Jazz Piano Harmony by Bill Dobbins (who was a long time educator at the Eastman School of Music). Don't be swayed by the word Jazz in the title. You can use these principles in all kinds of music. Thanks again.
I'd love to learn to read music...Im trying for over 20 years without any gain. I studied audio engineering with ease, I have very good IT degree, I would probably be able to learn everything from "classical recording" in a week and understand it...but reading music.. I dont't know why I will not happen.
I hope you make a breakthrough! I'm one of those people who think .. 'everyone can do maths' .. with the right teacher / method.. I wonder if music is the same?
I have Mark, I put a lot of myself into my commercial work (where possible) but also recently I've written an instrumental album - I've got some strings and a few other instruments to record but hoping to get that done by the end of the year.
Not as much as I'd like! Currently 20-30 mins but it has to be super focus. My brain works best in short bursts, I have to keep switching tasks to be on top of my efficiency. My ideal (when I'm retired) would be to do an hour a day of technique work (finger tech or practising chord voicings etc) and then just enjoy playing for another hour.
![5 Pieces by Hans Zimmer \\ Iconic Soundtracks \\ Relaxing Piano [20min]](/img/1.gif)
A very useful video, and one I’m sure I’ll come back to from time to time. Thanks again Paul!
Thanks Paul!
Many thanks for all this advice. They seem so obvious, but are so relevant! It’s never a waste of time to remind ourselves of them!
These are all super valuable tips, thank you for sharing these with us Paul! Also I'm really excited to see the performance improvement of the Spitfire Player! :)
Thank you! Yes looking forward to getting these improvements into everyones hands!
I like how he says hi Paul here like I’m on the phone to him.
You nailed it. The first 3 especially are areas I’ve worked on to improve and still have a long way to go. It’s a journey.😊
Thank you, I really enjoyed that. When it comes to skill, technique and even basic resources, I'm at the bottom of the ladder. I came to music making late in life and do it just for the sheer pleasure of it. However, I do try to improve what little skill I have every time I sit at the keyboard (which I can't play!) and am always looking to improve. It's encouraging that even someone with you abilities, Paul, are also always seeking to get better.
Absolutely John. We all start at the bottom of the ladder! And we can all keep climbing. Keep it up!
As an old saying tells, winter will be cold in the UK, the neighbor is cutting wood with a chainsaw in the distance.... 😁
More seriously, having less CPU usage in the in-house player is a great thing, not all of us have a new super powered computers, each %age is good to gain.
Haha!! Yes next door stocking up! And this is a really significant CPU gain, it will be really interesting to see what people report on their own systems.
Dies Irae spotted! Looking forward very much to the new improvements.
Haha!! It gets its way in everywhere!!
I love that book, "The Creative Act." I retyped the entire thing in Microsoft publisher and mounted it onto a 80"X36" Picture frame so I could stare at it while I compose.
haha.. I can't work out if you're being facetious.. !! :-D
But it is a lovely piece! Thank you for al your great inspiring videos Paul. I wish you a Happy New Year.
Some great things to think about, Paul - thank you.
Thanks!
improved efficiency is indeed good news!
Absolutely!
Another great video! For me the #1 thing that greatly improved my compositions was having a very good orchestration teacher. I cannot stress the importance of well thought out orchestration. The other aspect that really helped me is deep dive score analysis of all the greats both classical and contemporary film scores. When you start seeing patterns that all of the big (and small) names share in their compositions, you really start to think "wow" and have a clear idea of how they composed what they did and why.
Edit: I should say I still practice these things weekly. Never stop learning new ways to look at your old work!
Great tips thank you Andrew! There are definitely time tested things that work. In fact its the same deal in arrangement for songs. Good arrangements make such a huge difference, and its all there to learn from.
@@PaulThomsonMusic So true! Thank you Paul. In my mind it's akin to theme and variation but with timbre. Keep up the awesome work! These educational demonstrations help keep the mind thinking.
Points 4 and 5 hit me right where I needed it! Thanks Paul!
Thanks Martin glad its useful!
1,300 on the Geekbench score is for a single CPU core. Mac Pro 2019 multi core is still at the top tier of benchmarks. Logic Pro has fantastic multi-core performance.
Sadly it’s the same story multicore! 10564 against the highest M2 at 21304.
Proper gold nuggets, Paul, thank you very much for mentioning those! Some may sound obvious to the seasoned musos, but ultimately all of us need a refresher and getting reminded that we are never arrived, on the contrary!
Thanks Marco! Yes every thing I learn reminds me how little I know!
@@PaulThomsonMusic yw Paul! Exactly, we are lifelong learners after all are we not?
Thank you, Paul. This is my favorite of your videos by far. :)
Thank you!
Great tips, Paul! I particularly connect with #4 (develop a signature sound - always sample sounds you hear and do fun things with them) - and as I was listening to you say that, I could hear what-sounded-like someone with a strimmer/weed-whacker (possibly a lawn-mower?) out in your garden haha! I thought "I hope someone is recording that for Paul!" :D
Thanks Paul - great reminders!
Glad its useful Daniel!
6). experience life; it's easier to write 'about' something if you've experienced it
very true!!
I'm so glad to see your book is finally available in hardback, thank you! Just ordered.
Thank you Mary and I hope you find it inspiring and useful!
@@PaulThomsonMusic It’s an awesome book! I have the Issu version but really struggle with that Interface so I’m thrilled you decided to make a print version 😃
Thanks Paul, some great advice. Nice to know that even (former?) organists still need to brush up and take courses to improve their keyboard skills. And are willing to talk about it openly.
Thanks! Yes absolutely - In many ways I'm pretty rusty cp to when I was at school.. I used to burn through some serious organ rep that I can't play now! (Alain Litanies for ex!)
Paul is absolutely right, you can go around and try to cut corners, but without music theory and orchestration knowledge, its going to be hard to write music. And its never too late to learn!
Absolutely! Learning is gold dust.
I'll add that classical recording guide to my Christmas list, THANK YOU!
Its really great Billy!
Paul is to youtube composing what Bob Ross was to painting.
Oh I love that!! thank you haha!
Loved your old studio!
Thank you! Lovely video and good to hear about performance upgrades.
Thanks!
Thanks for the insights. Number 4, your signature sound, is the hard one. But then again if you don't go looking for it, you'll never find it.
Exactly David!!
Hey Paul, Thanks for the book recommendations. I ordered your book yesterday and it will come tomorrow. I was happy to see the hardcover book as I am a bit old fashioned and don't read e-books. I ordered the others as well, so they owe you a commision 🙂
Thanks Emil! Hope you enjoy them all!
This is great to hear you talk about!
Thank you!
Great Information Paul.
Thank you for your efforts
Thanks Jeremiah!
Paul, I am one of those composers who don't read music and I really have an honest question about reading music. But let me first say that I started the cinematic/trailer composing journey at age of 41 (Feb 2020). Now, 45! I am not new in music in general. I was a bassist in a rock blues band from 1997 to 2002 when I graduated from computer science.
Now, about reading music. I learned reading music and yes, it's not a rocket science. But also it didn't give that power that you're talking about. In other words, it didn't add much to my existing humble orchestration knowledge. I would say the only power it gives you is when reading the masters' scores and learn from them. But again, why learning them? I am not gonna write a symphony or a chamber music or film score anytime soon. I am barely an "epic" hybrid orchestral trailer or soundtrack writer who got some library music tracks and few placements. Also, the pure traditional John Williams orchestral music is no longer popular in today's cinematic music. All modern cinematic tunes involve a mixture of electronics (synths) and orchestra with simple non-complicated scores or melodies or even counter melodies.
Film scoring? The reality says that it isn't and will not be for me because of a couple of factors. 1) It's hard to break into and 2) Film studios already got their in-house composers. It's so unfortunate that most beginners start their composing learning journey and join this realm thinking that they will do FILM SCORING and it's easy and I was one of them. They end up writing library music for trailers or documentaries, which is not bad at all and I LOVE IT but it doesn't really require a "music reading" skill which is my main point. HECK! I even can't buy libraries such as Albion Solstice or Tundra because they are more of scoring sounds than anything else especially scoring drama and I tried many times to imagine or think how these libraries fit in my projects. Please don't get me wrong! I ADORE these Albions but if I am gonna buy them, I will buy them just for my own entertainment not for business.
Finally, even Drama TV is not using library music. Most projects that use library music are trailers, documentaries, reality TV and commercials. And it's not me who says that. It's the music libraries who say that.
Sorry for the long read but I just really wanted to ask that question because I am so ready to hear a reason or two to convince me enough to read music.
Lovely composition Paul at the end - reminds me of Edward Grieg meets Ralph Vaughan Williams.
Thanks Casey! I’m certainly not worthy to be in a sentence with those two!
Very nice Paul. Thanks for sharing.
Thank you!
Great tips for the signature sound section and using unconventional means to achieve certain sounds or atmospheres.
I would add that it is equally important to try and NOT use effects and sounds which could be considered musique concrete and try to create atmosphere strictly with orchestral and other “conventional” instruments. See if you can score a horror film using only strings, etc.
Yes nice point! The LCO certainly found some amazing new textures and sounds in the string section. I bet there’s more to discover.
Excellent tips as always Paul. Looking forward to hearing how you create a new sound out of your neighbour's strimmer :)
Coming soon! 😂
Nice one Paul, very strange, I was just talking to my wife a this exact subject . I love the Spitfire Vi , so simple and clean to use
Thank you Andy!
Excellent video Paul. I would like to suggest another book for anyone wishing to expand their harmonic vocabulary. It's something that you can spend years learning from (I've been working out of it on and off for over a decade). A Creative Approach to Jazz Piano Harmony by Bill Dobbins (who was a long time educator at the Eastman School of Music). Don't be swayed by the word Jazz in the title. You can use these principles in all kinds of music. Thanks again.
Thanks Pete! I'm going to check that Dobbins book out now!
not gonna lie... I'm really appreciating the simplicity of the stripped back film set, it seems a lot more genuine haha. Amazing tips as well!!! 😊
Thank you Jonathan! Yes less focus on making it look pretty and more on the info lol.. love your Mario short! Lovely playing!
@@PaulThomsonMusicomgg thanks for checking it out! it means so much haha🥰
Sounds like chainsaw massacre outside of Your studio, difficult to be creative there 😅 You made the best out of it.
haha! yes something terrible happening next door!
Thank you Paul
You're welcome Sean! Glad its useful.
Embracing the wrong is my secret weapon. Theory not so much. Great tips
Love it Jim!!
ChoiSauce controllers popping up everywhere :D
Chuck has the magic!
Sample that yellow bottle! :) Oh, and the mic stand. And those large window panes could be interesting percussion.
haha! OK challenge accepted - its on my to do list!
I'd love to learn to read music...Im trying for over 20 years without any gain. I studied audio engineering with ease, I have very good IT degree, I would probably be able to learn everything from "classical recording" in a week and understand it...but reading music.. I dont't know why I will not happen.
I hope you make a breakthrough! I'm one of those people who think .. 'everyone can do maths' .. with the right teacher / method.. I wonder if music is the same?
Thanks for this Paul
Thanks Andy!
Great advice as always 🔥 . Now whats that awesome looking red controller ?😁
Thanks! Thats the Choi Sauce designs controller - check them out! I love it!
@@PaulThomsonMusic Its now on the Christmas list! Thanks Paul
Thanks so much for this
You're welcome Graham!
Paul, is your book is on amazon?
Where is the link to your book on your website, Paul?
Hi Jason - good point! www.spitfireaudio.com/the-professional-composers-guide
Hi Paul, have you any music that you consider to be your style but not created via spitfire audio.
I have Mark, I put a lot of myself into my commercial work (where possible) but also recently I've written an instrumental album - I've got some strings and a few other instruments to record but hoping to get that done by the end of the year.
How much time do you put in when you work on something 2 or 3 times a week?
Not as much as I'd like! Currently 20-30 mins but it has to be super focus. My brain works best in short bursts, I have to keep switching tasks to be on top of my efficiency. My ideal (when I'm retired) would be to do an hour a day of technique work (finger tech or practising chord voicings etc) and then just enjoy playing for another hour.
@@PaulThomsonMusic Thanks for the quick and informative response.
Hi Paul! What is the name.of the first little book?
I'm not Paul, but I believe it was the score to Benjamin Britten's 'The Young Person's Guide to the Orchestra'
@mondostrat thank you so much!
thats it thanks Mondo!
384 GB of RAM? 😱
yes - slight overkill! It was from OWC though so very much cheaper than the apple Ram!!
Very inspiring video ❤
Thank you Peter!