I love John Powell's statement, which you quoted here, which says: "I had to focus less and less on programming, when I just got better at orchestration". That is SUCH a powerful statement, and one that I, as a beginning orchestrator, will take to heart. Thx Oscar!
its true i'm currenlty taking these online courses called Orchestration recipes. highly recommend. i can't recommend these enough. .it's split up in 5 blocks. 50 bux each.. worth a lot more honestly, it's a steal at this price. i have bought many online courses and been struggling. this Orchestration Recipes guy will take you places trust me.
Great video. Your wonderful facial expressions as the pieces play just shows your enjoyment and genuine love. I will definitely be a regular visitor. Thankyou.
Thanks for the informative vid, really useful and it sounds spot-on! Where did you find the score for ‘Leaving Hogwarts’? Or did you transcribe it all by ear? I’ve been looking for it for years and not found anything yet…
Thanks. Are you getting film score or concert work as a composer that wants John Williams style? If not, then the temple is useless, right? You need to find what makes you and what people will hire YOU for, because copying John Williams or Hans Zimmer AI has covered. Orchestral template cool.. but no one wants your music sounding like others, do they?
Wow. That sounds really realistic and amazing. How many hours did you spend creating the Midi and expressions? I know that in addition to notes, chords, and the right choice of instruments, it is important to bring the virtual instruments to life with expression and dynamic controllers. How long did it take you to make this track sound so fantastic?👏
In this case, Scheps Omni Channel (I might have to try doing a whole mix with mostly just this one day)... And then I just can't resist the UAD Studer Tape, set to GP9... In this instance I put it at 30 IPS, but 15 IPS also sounds very good, and has potentially less harshness for orchestral, more warm... But in this instance I made a judgement call and said screw it, I like the 30 IPS brightness for Harry Potter!
Currently in the process of switching my whole template from split articulation to expression maps. I find it harder to think more as an orchestrator and less as a programmer when splitting everything
Great video! Thanks for sharing this, really informative. I would love to get better at Orchestral music composing etc. I have a question though? What would you suggest to do, regarding studying the great scores as you say, if you are someone ( like me!) who cannot read or write music? Having no real music theory knowledge, how would i be able to transcribe a score into Cubase ? What could i do to improve and learn orchestration, and not just programming? Thanks again for sharing, really enjoyed watching your video, even more so as i came across your video by accident? Cheers!
i would recommend Stravinsky and Holst, and then Debussey and Joe Hisaishi for piano stuff. Tchaikovsky good too, most orchestral music in history is very obscure melodies and harmonies that i'm not really going to use much in modern composing. Like this guy told me i should study Mendelsson's Fingal's Cave.. yea it's cool but those old voicings and harmonies are probably not something i would use.. Aleatoric music is very interesting tho and can translate for ppl wanting to learn to score horror or suspense. The video game Deadspace is one of the best scores for this.
You spent several hours on transcribing? It would cost me days! And where did John Williams use a Serum subbass 😉 Really great video. I agree that orchestration is the most important.
Very informative thankyou Oscar and have subscribed. Would be good if you can share more detail about how you went about transcribing the origional orchestral scores. Do you get hold of the actual score or just recreate just via ear alone? I'm in the process of trying the latter method but starting at an age where my hearing is somewhat compromised so am probably missing a lot of the detail of the more subtle elements . Not sure where to obtain scores from for example. However agree a brilliant way of setting out to learn your craft and you channel looks perfect as a resoure to help this. More information on reverb would be good as some composers stack reverbs on different busses, thus have a glue reverb over the section specific ones. But seemed like you don't do that.
Absolutely - Soothe 2 is at 60% on "Orchestral Fender" - just gently taming that 2-4k range... Gullfoss is actually doing nothing lol, I don't like the sound, I left it on there to test it!
@@oscarosicki Thaks :) And how about negative delay in this template? CSS has a big delay in each articulation - legato the biggest :) How do You handle that? :)
@@symfonik-pl I use shortcuts where I highlight the MIDI - and then use personal shortcuts (in Cubase with the Logical Editor) - I think I have one for Slow Legato, and Fast Legato, and Woodwind legato... and Fast notes... Because blessed Cinematic Studio Series has pretty much equal delays for each articulation (another reason why they're sturdy for me) - so I just plug the notes in with quantization, and then use my shortcuts to offset them. That's my workflow. Others would say do it differently. But for some silly reason I love having one orchestral instrument per track unless absolutely necessary. I guess I still "see it" as composing in an orchestral score, mentally, only it's a different kind of medium (a DAW). Hope that makes sense!
Hi Oscar, I have 2 questions: 1) Do you use original reverb from CSS (if yes, what percentage) and put convolution over it? 2) How do you manage divisi? I haven't seen separate tracks for them and legato articulation works only with one voice in CSS. Thank you.
Hi again yessimus! I do not use their reverb! In this instance with divisi I just use Long articulations with very soft modulation settings. Not ideal but it depends on how exposed the divisi is. Haven't really found a perfect solution with divisi, so in different contexts might have to make a different decision!
Translation: Have money to buy good libraries 😂 I’m joking, but with some sense of reality, I have some freebies, and as much as they are good to start, I miss some articulations and layers of expression.
He does almost everything himself, gives all the indications for the orchestrators. They basically just have to copy the score on the sheets music for musicians.
Not combining articulation may be convenient for beginners, but you just can't achieve a convincing sound that way. Your mockup doesn't sound convincing to me, either;
I love John Powell's statement, which you quoted here, which says: "I had to focus less and less on programming, when I just got better at orchestration". That is SUCH a powerful statement, and one that I, as a beginning orchestrator, will take to heart. Thx Oscar!
I agree!!! Thanks!
its true i'm currenlty taking these online courses called Orchestration recipes. highly recommend. i can't recommend these enough. .it's split up in 5 blocks. 50 bux each.. worth a lot more honestly, it's a steal at this price. i have bought many online courses and been struggling. this Orchestration Recipes guy will take you places trust me.
Why doesn't this channel have more subscribers?? Insane. This was fantastic.
There's one more NOW, I'm in!
This presentation is very well orchestrated (pun intended). Ideas are presented in an organized and orderly way. Congrat's, Oscar.
Bless you, thanks!!
Great video. Your wonderful facial expressions as the pieces play just shows your enjoyment and genuine love. I will definitely be a regular visitor. Thankyou.
Nice video ! everything is correct. great work Oscar!
Extremely well organized video! You have an amazing ability to communicate.
Thank you CodingKricket!!!
Thanks for the informative vid, really useful and it sounds spot-on! Where did you find the score for ‘Leaving Hogwarts’? Or did you transcribe it all by ear? I’ve been looking for it for years and not found anything yet…
Wonderful as always! I will watch with my son and let him comment as well. So cool you are sharing this! I
Thank you Hollie! Nice to hear from you!
@@oscarosicki Likewise--happy you are adding this channel! The world needs more of you!
Thanks. Are you getting film score or concert work as a composer that wants John Williams style? If not, then the temple is useless, right? You need to find what makes you and what people will hire YOU for, because copying John Williams or Hans Zimmer AI has covered. Orchestral template cool.. but no one wants your music sounding like others, do they?
Wow. That sounds really realistic and amazing. How many hours did you spend creating the Midi and expressions? I know that in addition to notes, chords, and the right choice of instruments, it is important to bring the virtual instruments to life with expression and dynamic controllers. How long did it take you to make this track sound so fantastic?👏
Curious - what plugin are you using for saturation?
In this case, Scheps Omni Channel (I might have to try doing a whole mix with mostly just this one day)... And then I just can't resist the UAD Studer Tape, set to GP9... In this instance I put it at 30 IPS, but 15 IPS also sounds very good, and has potentially less harshness for orchestral, more warm... But in this instance I made a judgement call and said screw it, I like the 30 IPS brightness for Harry Potter!
Currently in the process of switching my whole template from split articulation to expression maps. I find it harder to think more as an orchestrator and less as a programmer when splitting everything
Great video! Thanks for sharing this, really informative. I would love to get better at Orchestral music composing etc. I have a question though? What would you suggest to do, regarding studying the great scores as you say, if you are someone ( like me!) who cannot read or write music? Having no real music theory knowledge, how would i be able to transcribe a score into Cubase ? What could i do to improve and learn orchestration, and not just programming? Thanks again for sharing, really enjoyed watching your video, even more so as i came across your video by accident? Cheers!
i would recommend Stravinsky and Holst, and then Debussey and Joe Hisaishi for piano stuff. Tchaikovsky good too, most orchestral music in history is very obscure melodies and harmonies that i'm not really going to use much in modern composing. Like this guy told me i should study Mendelsson's Fingal's Cave.. yea it's cool but those old voicings and harmonies are probably not something i would use.. Aleatoric music is very interesting tho and can translate for ppl wanting to learn to score horror or suspense. The video game Deadspace is one of the best scores for this.
You spent several hours on transcribing? It would cost me days! And where did John Williams use a Serum subbass 😉
Really great video. I agree that orchestration is the most important.
Very informative thankyou Oscar and have subscribed.
Would be good if you can share more detail about how you went about transcribing the origional orchestral scores. Do you get hold of the actual score or just recreate just via ear alone? I'm in the process of trying the latter method but starting at an age where my hearing is somewhat compromised so am probably missing a lot of the detail of the more subtle elements . Not sure where to obtain scores from for example. However agree a brilliant way of setting out to learn your craft and you channel looks perfect as a resoure to help this. More information on reverb would be good as some composers stack reverbs on different busses, thus have a glue reverb over the section specific ones. But seemed like you don't do that.
How you deal with track delay when using expression map instead of tracks for each.
Nudging notes manually or using macros is your only solution
Are you willing to share your cubase file to learn from?
What about Soothe 2 & Gullfoss? These plugins change a loooooooot :) I see it in your Orchestral Mix ;)
Absolutely - Soothe 2 is at 60% on "Orchestral Fender" - just gently taming that 2-4k range... Gullfoss is actually doing nothing lol, I don't like the sound, I left it on there to test it!
@@oscarosicki Thaks :) And how about negative delay in this template? CSS has a big delay in each articulation - legato the biggest :) How do You handle that? :)
@@symfonik-pl I use shortcuts where I highlight the MIDI - and then use personal shortcuts (in Cubase with the Logical Editor) - I think I have one for Slow Legato, and Fast Legato, and Woodwind legato... and Fast notes... Because blessed Cinematic Studio Series has pretty much equal delays for each articulation (another reason why they're sturdy for me) - so I just plug the notes in with quantization, and then use my shortcuts to offset them.
That's my workflow. Others would say do it differently. But for some silly reason I love having one orchestral instrument per track unless absolutely necessary. I guess I still "see it" as composing in an orchestral score, mentally, only it's a different kind of medium (a DAW). Hope that makes sense!
@@oscarosicki Great Oscar :) Thanks! Nice workflow - I have to try one track per instrument - less work :D
Hi Oscar, I have 2 questions:
1) Do you use original reverb from CSS (if yes, what percentage) and put convolution over it?
2) How do you manage divisi? I haven't seen separate tracks for them and legato articulation works only with one voice in CSS.
Thank you.
Hi again yessimus! I do not use their reverb! In this instance with divisi I just use Long articulations with very soft modulation settings. Not ideal but it depends on how exposed the divisi is. Haven't really found a perfect solution with divisi, so in different contexts might have to make a different decision!
Translation: Have money to buy good libraries 😂 I’m joking, but with some sense of reality, I have some freebies, and as much as they are good to start, I miss some articulations and layers of expression.
I thought JW left detailed orchestration to colleagues...
He does almost everything himself, gives all the indications for the orchestrators. They basically just have to copy the score on the sheets music for musicians.
That's really not accurate if you look at his sketches, they're amazingly detailed. Of course colleagues might make small changes
Not combining articulation may be convenient for beginners, but you just can't achieve a convincing sound that way. Your mockup doesn't sound convincing to me, either;