Creature Enjoyer

Earlier:
- part 0: preliminaries (includes partial glossary of terms)



I know there are a lot of people who haaaaaate being forced to sit through video but since audio playback is inherent to the enterprise...This is under a minute, promise.

This is a brief demonstration of the opening of one of my compositions partially engraved (~sheet music typesetting) in Dorico. The two industry-standard engraving apps in media composition scoring are Dorico and Sibelius; Finale used to be a third but was sunsetted to much consternation.

If you come from classical music (especially classical orchestral music), you may be ??? about the score formatting. This is because scores for session orchestra and concert/classical orchestra have different formatting! (See part 0: preliminaries for more detail as to why). Differences for session orchestra you see here include:

- Score is in C (NOT a transposing score for the conductor - nota bene, transposing is "allowed" for octaves), but we won't have e.g. horn in F or trumpet in Bb. ( Read more... )

As for playback:

- Guess what, Dorico and Sibelius at the level of orchestral scores are spendy. :]

- I'm using NotePerformer, which is the standard higher-quality playback engine, especially if you don't have time to mock it up in the DAW (or you're an art/concert composer for whom a mockup is not part of your workflow). But that's also money (~$130 USD).

NotePerformer is pretty credible with a lot of orchestral instruments. You still have to massage its output. For example, in Sibelius [not shown] you can set playback to molto espressivo (LOTS OF FEELING) vs. senza espressivo (NO FEELINGS EVER!!!) (etc). My experience is that particular instruments can be less "real"-sounding and the "vocalists" (both SATB choir and associated "solo" voices) are absolutely terrible, as in "my vacuum cleaner sings more credibly than this" terrible.

Aside: There are some good vocal VST libraries for specific use cases. I hate that I am often able to straight-up identify "Oh yeah, XYZ floating ethereal ~Celtic Twilight vibes soprano 'ahhh' ululation in this trailer/score/whatever was $SPECIFIC_VST_LIBRARY" because, apparently, I have no life; but this is not unusual in this field.

I know at least one full-time composer/orchestrator/musician who straight-up bounces (= "renders audio output," usually to WAV or maybe mp3 if a compressed format is okitty, like rendering video for vidding; I have no idea where this term comes from!) NotePerformer output and then processes that in the DAW (reverb etc) and, you know, this person makes a living doing this. So that's one route one can take.

Why, you ask, can't we just export this score-stuff into a DAW with all the fancy (...spendy) VST instruments and "paste in" nicer/more individualized instruments? Dorico (and Sibelius) do in fact export to MIDI and MusicXML. [1] This is a very reasonable question that will be the topic of the next walkthrough (part 2), mainly because it's a surprisingly (annoying) complicated topic as to why this is rarely straightforward. (Let me tell you all about negative track delay...)

[1] Missed these glossary items earlier! ( brief explanations of MIDI and MusicXML )

Happy to answer questions, although I have no idea if anyone else finds this interesting. :p

next up:
- part 2: demo of a simple piano sketch in Cubase (DAW)
- (more to come)

Howdy! I’m Yoon, an MFA student in media composition and orchestration. I am here today to talk to you about sampled orchestral mockups in composing music, which is what I will be doing for this round of Communal Creators. It’s a niche field even in (media) composition due to the cost + tech barriers to entry. I thought folks might be curious (and maybe interested in trying their hand at a lower-cost version of it).

To the extent that I have musical training (mostly Obligatory Asian-American Piano Lessons by volume), it’s classically inflected. Even folks who hate classical music :) probably know it exists. A more “traditional”/conservatory approach to writing for (symphony) orchestra might involve pen-and-paper composing to generate sheet music. This is my background and I still do a lot of sketching on staff paper.

This inherently means you’re reading (Western classical) music notation (of which more anon) and often means you’re wrassling explicitly with music theory and related topics.

However! These day, hiring a session orchestra is semi-doable by a dedicated individual if you have the money lying around. ( Read more... )

So most mortals who are doing orchesstral or hybrid orchestral scores for film or TV and especially non-AAA video games are using sampled orchestra mockups.

Note: unless otherwise specified, if I say “music notation” or “music theory” I’m referencing more or less common practice Western (European-derived)-style music notation simply in the interests of avoiding unwieldiness in this overview. ( some further observations )

Hiring a session orchestra may be surprisingly semi-doable by a normal human but most work in orchestral media composition (film, TV, video game scores) is now done in software via sampled orchestral mockup. This includes classical-ish, e.g. John Williams everything or Carlos Rafael Rivera’s score for The Queen’s Gambit, or hybrid orchestra (e.g. Two Steps from Hell) with synth or “modern” instrumentation elements.

A quick and dirty (incomplete) overview of terms you might come across in this space, with simplified explanations. There’s a LOT of jargon, some of which is obscure or confusing even to e.g. classical musicians entering this space! ( Read more... )

This has all been in the way of preliminaries, apologies! This is an extremely technical field so the jargon alone is A Lot.

These days, composers often write (in that workflow) using engraving software. In this context, this means “music typesetting for sheet music,” and for session work specifically there are strict formatting rules to save time (money). The other workflow for computer-based composition + production (i.e. not tracking live instruments, of which more discussion later) involves taking everything into the DAW and producing realistic-sounding mockups in software. I will (in future posts) run through DAW examples of this (hopefully with video + audio capture so you can see the workflow).

Happy to answer any questions; it’s almost impossible even to gesture at a bunch of the music or tech stuff in a small space, and I have almost certainly missed some useful jargon because it's UNENDING. :p

next up:
- part 1: brief demo of engraving software + playback
- part 2: demo of a simple piano sketch in Cubase (DAW)
- (more forthcoming)