Fascinating when Andres speaks about over-writing sections of music, and the role the orchestrator plays in making the midi ideas of the composer is reflected in the score. Obviously his experience working with Anne-Kathrin and live orchestra sessions gives him excellent insight into how critical an orchestrator is for a project. Dealing with creative choices verse mistakes, abrupt tempo changes (although Anne-Kathrin speaks about this in her composition videos), or matching the meter with the music's intension, all of this makes the orchestrator's role challenging. This video really shows how important a good working relationship is between the composer and orchestrator. While we don't see Anne-Kathrin and Andres interact with each other, it is obvious their music relationship is extremely rich. This whole series is very educational.
Anne-Kathrin … I can’t thank you (and your fellow creators) enough for taking the time to produce these videos. You are a wonderful teacher, and I am learning so much. Again, thank you for taking time out of your schedule to share your knowledge. That has not always been the case in our industry.
Luv these videos! There’s always something new to learn. Excellent work as always. Mistakes of the mind we can forgive, mistakes of the heart …. mmmm…… don’t think so.
Loved this series. Thank you both for the helpful insights. You both have been amazing ! We are wishing you all the best in your current projects! :):)
Congratulation Anne. To you and to Andres. I have enjoyed a lot this series. You both have done a very good work with these videos. Very generous from you to share with us your experiences. I found the series particularly interesting because I usually do music fom the score to Cubase. Just the oposite that a composer usually do. I mean I like to make a MIDI mockup from a score (as a hobby). And when I am reading the orchestrator indications I ususally come to my mind questions about how the job of an orchestrator would be. Now, I have a clearer idea of how this is. Thank you very much.
Another amazing series of three videos that cover the (often misunderstood or not properly described) subject of the profession as an orchestrator in film/TV production. It certainly takes an industry insiders willing to share this information (and most importantly : finding time and take a true effort to produce such video series for students and even pros who live outside of media centers : L.A, London etc.). I forwarded this series (and bunch of other videos that Anne-Kathrin published) to students and other musicians as a “must see”. Congratulations ! Those of us who are professional musicians really appreciate this kind of straightforward talk. Down-to-the-actual-point. No BS, just the bottom line :-) BTW - if I can add anything to your priceless presentation regarding Orchestration in general - in addition to Adler’s standard Orchestration book, I would strongly recommend “The Cambridge Guide to Orchestration “ by Ertugrul Sevsay, Professor of Music at the University in Vienna. Phenomenal book by all means :-)
Interesting points. One idea how to check whether the MIDI matches the audio would be to make a null test between the MIDI's sum bounce and the audio before sending them. There's probably even a plugin for that. Also if there are many versions of the project, to avoid confusion some kind of version control like Git could be helpful (although I've never seen it in practice with audio projects or large binary files). You mentioned that the end result is going to be layering the recording with the mockup. I wonder why you'd still want the mockup when you have an actual recording? Maybe you could talk more about that, and also about whether it's still important to make realistic and detailed mockups when you know that the score is going to be recorded anyway.
Another great series. Thanks to you and Andres both for putting in the time to produce this. I sense from your comments that you might have strong feelings regarding releasing poorly prepared MIDI files. Did I get that right? ;)
Dear Anne-Kathrin, thank you for everything, there's a lot of very useful information in your videos. You mentioned the pipe organ in this one and it just occurred to me: who and when decides upon registration?
Very clear explanations ! Thanks a lot for these awesome videos ! Just wondering if as a composer, you always work in the daw even when you create your piano sketches ou build your themes ? Does it mean, that as a composer, you never use a notation software at all for the sake of time ?
Just finished my first orchestration gig! The composer definitely wanted me to notify them each time I changed anything that fell under the 'common mistakes'. When work is very time-sensitive, do you still appreciate orchestrators checking such changes with you, or do you prefer they simply go and ahead and implement them?
Congratulations on your first orchestration gig! If the change is big I prefer they check with me or put a comment into the file to I'm aware of it. Small changes I don't really care about. This is also where it comes in handy to have long standing work relationships. Andres knows what choices he can make for me and where he needs to check in with me. And then there's of course also always the option to mark things as a "cue" if the orchestrator has suggestions. That way I can choose on the day of recording what I want.
@@AnneKathrinDernComposer Thanks for a long and helpful answer :) Building up the relationship and learning what the composer wants to know/not know was actually the bulk of the work for me, on this first project. I didn't necessarily know how much of this was standard knowledge/vs composer specific. I'm booked to do more, and round two will probably go much quicker, as I'll now know what the composer cares about/is happy for me to edit. Cheers - and thanks for the insight!
Hi Anne! Thanks for the tip on parallel compression that you gave in your Template Pt 3 video. I have never heard anyone mention using it for orchestral instruments, only for drums and bass. I have done another Google search on the use of parallel compression in orchestral music, and nothing turned up. It must be a closely guarded secret :) Since I have used parallel compression only on drums and bass so far, I have a few questions about using it on orchestral instruments so I would avoid using it incorrectly and save myself from years of trial and error and ruined tracks. And because I don't know whether you read comments on old videos, I thought I could ask these questions here. 1) How many dBs of compression do you apply for parallel compression of orchestral instruments - for example, is it -3 dB, or -10 dB, or even more? And do you apply it in the same amount to low-range and high-range instruments, and to different instrument families (strings, woodwinds, brass, keys, percussion, choir)? 2) Do you use the same Attack, Release, and Ratio settings that you showed for parallel compression of all the tracks, or do you tailor it differently depending on the instrument family and range? 3) Do you use it by default in almost every mix, or, for example, only for more intense and action cues, and do you usually use it on every single instrument of the orchestra or only on select instruments that you want to beef up and make more prominent, such as only the instruments playing the main melody or rhythm? 4) Do you use it equally in your film and video game scoring? To your knowledge, is the use of parallel compression for orchestral instruments widespread among video game composers as well?
Great video as previous ones..!! I would only like to ask if it's a mandatory to the orchestrator, sending her/his new midi files to the recording session, so the musicians record hearing those midi tracks..? Is it currently done in some pro- recording setting..? I thank you in advance. Grettings for both of you, Anne.!!
20:40 I was just wandering if sharing your Cubase's expression maps might be a better way to go here. I also prefer composing with one track using expression maps, I find it easier to switch articulation on different notes.
Yes, expression maps is definitely also a way to go and used by plenty of composers. I just personally don't like using them as much but it's totally valid.
17:49- was not expecting that! I love it lol!
Sometimes you gotta tell it like it is. ;-)
Fascinating when Andres speaks about over-writing sections of music, and the role the orchestrator plays in making the midi ideas of the composer is reflected in the score. Obviously his experience working with Anne-Kathrin and live orchestra sessions gives him excellent insight into how critical an orchestrator is for a project.
Dealing with creative choices verse mistakes, abrupt tempo changes (although Anne-Kathrin speaks about this in her composition videos), or matching the meter with the music's intension, all of this makes the orchestrator's role challenging. This video really shows how important a good working relationship is between the composer and orchestrator. While we don't see Anne-Kathrin and Andres interact with each other, it is obvious their music relationship is extremely rich.
This whole series is very educational.
Fantastic conclusion to the three part series. Thanks for your insight.
Thank you for watching! Glad you liked it! :-)
Anne-Kathrin … I can’t thank you (and your fellow creators) enough for taking the time to produce these videos. You are a wonderful teacher, and I am learning so much. Again, thank you for taking time out of your schedule to share your knowledge. That has not always been the case in our industry.
I’m so happy to hear that this channel is helping you! I’ll try my best to keep the videos coming.
This channel is a gold mine of knowledge. Thank you so much for making these videos and keep it up! So insightful
So happy to hear that!
Thanks for this finale and I look forward to you shining a light on other less-known jobs and aspects of the craft.
Thanks for watching! And yes, more to come on all the other jobs tied to film composition! :-)
It's very interesting!! Thank you and best! Serge, film orchestrator and arranger from Russia.)
Luv these videos! There’s always something new to learn. Excellent work as always. Mistakes of the mind we can forgive, mistakes of the heart …. mmmm…… don’t think so.
Loved this series. Thank you both for the helpful insights. You both have been amazing ! We are wishing you all the best in your current projects! :):)
Thank you so much!
Congratulation Anne. To you and to Andres. I have enjoyed a lot this series. You both have done a very good work with these videos. Very generous from you to share with us your experiences. I found the series particularly interesting because I usually do music fom the score to Cubase. Just the oposite that a composer usually do. I mean I like to make a MIDI mockup from a score (as a hobby). And when I am reading the orchestrator indications I ususally come to my mind questions about how the job of an orchestrator would be. Now, I have a clearer idea of how this is. Thank you very much.
I'm so glad these videos could clear things up a little! Thanks for watching!
Another amazing series of three videos that cover the (often misunderstood or not properly described) subject of the profession as an orchestrator in film/TV production. It certainly takes an industry insiders willing to share this information (and most importantly : finding time and take a true effort to produce such video series for students and even pros who live outside of media centers : L.A, London etc.). I forwarded this series (and bunch of other videos that Anne-Kathrin published) to students and other musicians as a “must see”. Congratulations ! Those of us who are professional musicians really appreciate this kind of straightforward talk. Down-to-the-actual-point. No BS, just the bottom line :-) BTW - if I can add anything to your priceless presentation regarding Orchestration in general - in addition to Adler’s standard Orchestration book, I would strongly recommend “The Cambridge Guide to Orchestration “ by Ertugrul Sevsay, Professor of Music at the University in Vienna. Phenomenal book by all means :-)
This is outstanding! It gives amazing insight, I do appreciate the no-nonsense. Thank you for sharing your experience and process.
Thank you for watching! Glad this was helpful!
Best line: "Clean up your goddamn midi!" ;)
Really great final conclusion part to a really complex, wonderful, interesting part of the film scoring profession. Amazing video as always. :)
Thank you for watching! Glad you liked it! :-)
Very helpful! Thank you for uploading this! I'm going back to cleanup MIDI's now 😂
Thank you for watching! And yes, go clean up your midi! ;-P
Incredibly informative. Thanks to you and Andres, Ann!
Our pleasure!
thank you so much. every single video is a masterclass. and Andres in this one is just brilliant.. Thank you both for sharing.
Thank you for watching! So glad you like the videos!
Interesting points. One idea how to check whether the MIDI matches the audio would be to make a null test between the MIDI's sum bounce and the audio before sending them. There's probably even a plugin for that. Also if there are many versions of the project, to avoid confusion some kind of version control like Git could be helpful (although I've never seen it in practice with audio projects or large binary files).
You mentioned that the end result is going to be layering the recording with the mockup. I wonder why you'd still want the mockup when you have an actual recording? Maybe you could talk more about that, and also about whether it's still important to make realistic and detailed mockups when you know that the score is going to be recorded anyway.
informative as usual. Thanks a lot!
Thank you!
Another great series. Thanks to you and Andres both for putting in the time to produce this.
I sense from your comments that you might have strong feelings regarding releasing poorly prepared MIDI files. Did I get that right? ;)
Thank you for watching! And yes... I have strong feelings about unclean midi files... ;-)
Dear Anne-Kathrin, thank you for everything, there's a lot of very useful information in your videos. You mentioned the pipe organ in this one and it just occurred to me: who and when decides upon registration?
This series was so insightful that I feel I owe you fees for the course. Keep it up.
Ha, nothing owed to anyone, just enjoy making music. :-)
very informative!!
Thank you!
Very clear explanations ! Thanks a lot for these awesome videos ! Just wondering if as a composer, you always work in the daw even when you create your piano sketches ou build your themes ? Does it mean, that as a composer, you never use a notation software at all for the sake of time ?
Just finished my first orchestration gig! The composer definitely wanted me to notify them each time I changed anything that fell under the 'common mistakes'. When work is very time-sensitive, do you still appreciate orchestrators checking such changes with you, or do you prefer they simply go and ahead and implement them?
Congratulations on your first orchestration gig! If the change is big I prefer they check with me or put a comment into the file to I'm aware of it. Small changes I don't really care about. This is also where it comes in handy to have long standing work relationships. Andres knows what choices he can make for me and where he needs to check in with me. And then there's of course also always the option to mark things as a "cue" if the orchestrator has suggestions. That way I can choose on the day of recording what I want.
@@AnneKathrinDernComposer Thanks for a long and helpful answer :) Building up the relationship and learning what the composer wants to know/not know was actually the bulk of the work for me, on this first project. I didn't necessarily know how much of this was standard knowledge/vs composer specific. I'm booked to do more, and round two will probably go much quicker, as I'll now know what the composer cares about/is happy for me to edit.
Cheers - and thanks for the insight!
Hi Anne! Thanks for the tip on parallel compression that you gave in your Template Pt 3 video. I have never heard anyone mention using it for orchestral instruments, only for drums and bass. I have done another Google search on the use of parallel compression in orchestral music, and nothing turned up. It must be a closely guarded secret :)
Since I have used parallel compression only on drums and bass so far, I have a few questions about using it on orchestral instruments so I would avoid using it incorrectly and save myself from years of trial and error and ruined tracks.
And because I don't know whether you read comments on old videos, I thought I could ask these questions here.
1) How many dBs of compression do you apply for parallel compression of orchestral instruments - for example, is it -3 dB, or -10 dB, or even more? And do you apply it in the same amount to low-range and high-range instruments, and to different instrument families (strings, woodwinds, brass, keys, percussion, choir)?
2) Do you use the same Attack, Release, and Ratio settings that you showed for parallel compression of all the tracks, or do you tailor it differently depending on the instrument family and range?
3) Do you use it by default in almost every mix, or, for example, only for more intense and action cues, and do you usually use it on every single instrument of the orchestra or only on select instruments that you want to beef up and make more prominent, such as only the instruments playing the main melody or rhythm?
4) Do you use it equally in your film and video game scoring? To your knowledge, is the use of parallel compression for orchestral instruments widespread among video game composers as well?
Great video as previous ones..!! I would only like to ask if it's a mandatory to the orchestrator, sending her/his new midi files to the recording session, so the musicians record hearing those midi tracks..? Is it currently done in some pro- recording setting..?
I thank you in advance. Grettings for both of you, Anne.!!
20:40 I was just wandering if sharing your Cubase's expression maps might be a better way to go here. I also prefer composing with one track using expression maps, I find it easier to switch articulation on different notes.
Yes, expression maps is definitely also a way to go and used by plenty of composers. I just personally don't like using them as much but it's totally valid.