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Sample Libraries in Film Scoring – A Comprehensive Guide

Sample Libraries in Film Scoring - A Comprehensive Guide

Table of Contents

Hello from the world of cinema music, where melodies turn narratives into unforgettable visual feasts. With their vast selection of virtual instruments and soundscapes, sample libraries have become indispensable resources for contemporary composers. 

This in-depth blog explores the complex world of sample libraries and looks at how they can improve storytelling, evoke strong feelings, and define the spirit of movies. 

To assist you in taking your film-scoring projects to the next level, we guide you through the wide range of options available, from symphonic grandeur to inventive electronic textures. Prepare to explore the symphony of opportunities that sample libraries present in the enchanted world of film.

Key Takeaways

  • Sample libraries have become indispensable for film composers, offering various virtual instruments and soundscapes.
  • The evolution of film scoring technology has seen significant changes from the silent era to the digital revolution.
  • Sample libraries in film scoring offer versatility, time efficiency, cost-effectiveness, and realism.
  • Choosing the correct sample libraries involves considering factors like musical genre, quality, and budget.
  • The future of sample libraries in film scoring holds promise with AI integration, real-time collaboration, and evolving sound design techniques.
  • Sample libraries provide composers with many resources, from orchestral to electronic and world instruments.
  • The digital revolution and modern scoring techniques have transformed film music production.
  • Live-to-picture performances offer an immersive cinematic experience with live orchestral accompaniment.
  • AI and advancements in interactive media and virtual reality present future opportunities for film composers.
  • Composers can enhance their skills and develop a career with mentorship and guidance from experienced film composers.

The Evolution of Film Scoring Technology

Since the early days of cinema, soundtrack technology has experienced a remarkable transformation. How music is written, recorded, and used in movies has changed along with the film industry. 

This evolution has been characterized by important turning points and inventions that have influenced the film music genre. Let’s go through each of the critical stages of this intriguing best sound library:

Silent Era (1890s-1920s)

Silent Era (1890s-1920s)

There were no set procedures in the early days of cinema for incorporating music into movies. In theaters, live orchestras and pianists frequently supplied accompaniment and improvised music to correspond with the action on screen. This live music was crucial to the emotional impact and overall quality of the silent film experience.

The Introduction of Sound (1920s-1930s)

The Introduction of Sound (1920s-1930s)

The field of film music has undergone a significant transformation with the introduction of synchronized sound in motion pictures. 

Composers and musicians had to adjust to this new reality to create music that complemented the dialogue and sound effects. As a result of this shift, studios established specialized departments for film music.

Acoustic Recording (1930s-1940s)

Acoustic Recording (1930s-1940s)

Acoustic recording technology was used in the early days of film scores, where musicians would perform in front of big horns that would record the sound onto wax or shellac discs. The editing options and sound quality were limited with this method.

The Rise of Orchestration (1930s-1950s)

The Rise of Orchestration (1930s-1950s)

Film composers like Erich Wolfgang Korngold and Max Steiner were instrumental in advancing the orchestral sample library used in cinema music. Her works have opulent orchestral arrangements, which came to characterize Hollywood’s Golden Age.

Magnetic Tape and Scoring Stages (1950s-1960s)

Magnetic Tape and Scoring Stages (1950s-1960s)

Film music was transformed with magnetic tape and multitrack recording technology. Now, composers can more accurately record and edit their works. During this time, Hollywood also saw the emergence of unique film music stages, like the storied 20th Century Fox film music stage.

Synthesizers and Electronics (1960s-1970s)

Synthesizers and Electronics (1960s-1970s)

Film music began to incorporate electronic instruments and synthesizers in the 1960s. Electronic sounds were first used in compositions by composers such as Wendy Carlos (best known for her work on “A Clockwork Orange”). This set the stage for the film’s seamless orchestral and electronic music blend.

Digital Revolution (1980s-Present)

Digital Revolution (1980s-Present)

Film scoring technology saw previously unheard-of changes due to the digital revolution. Digital audio workstations (DAWs), MIDI (Musical Instrument Digital Interface), and computers gave composers a remarkably flexible way to write, arrange, and orchestrate music. 

With the availability of various sounds, sample libraries, virtual instruments, and digital recordings have evolved into indispensable tools.

Modern Scoring Techniques (2000s-Present)

Modern Scoring Techniques (2000s-Present)

Today’s Film composers create soundtracks that span various musical genres by fusing electronic elements with traditional orchestral libraries.

The process of writing scores has also changed due to cutting-edge technologies like virtual orchestration and remote collaboration tools, which enable composers to work with ensembles and musicians worldwide.

Live-to-Picture Performances (2000s-Present)

Live-to-Picture Performances, wherein the soundtrack of a film is performed in time with the film by an orchestra, are gaining popularity. Audiences worldwide are delighted by this immersive experience, which combines a movie theater’s visual impact with a live orchestra’s richness.

Future Trends

There are lots of exciting possibilities for film music technology in the future. Researchers are looking into using machine learning and artificial intelligence (AI) to assist composers in creating soundscapes and music. 

Additionally, interactive media and virtual reality (VR) advancements will present new opportunities and challenges for film composers in the upcoming years.

Understanding Sample Libraries

Sample libraries, which provide a vast array of pre-recorded sounds and instruments, are essential tools for musicians and composers. These libraries are the foundation for producing music on digital audio workstations and include various musical elements, such as electronic textures and orchestral instruments. 

Sample libraries have improved in competence as technology has progressed, enabling users to produce delicate and lifelike compositions. They enable musicians to create their musical visions in the digital age and explore a variety of soundscapes.

Benefits of Sample Libraries in Film Scoring

Sample libraries are essential to contemporary cinema music and have many advantages for producers, composers, and the whole filmmaking process:

Versatility

Sample libraries give composers access to various virtual instruments, enabling them to produce various musical textures and styles, from electronic to orchestral and beyond.

Time Efficiency

Fast access to high-quality sounds allows composers to shorten recording sessions, exceptionally when production schedules are constrained.

Cost-Effectiveness

Since sample libraries are less expensive than full orchestras or ensembles, a wider variety of filmmakers can use them.

Realism

Realistic instrument and articulation options provided by top-notch sample libraries allow composers to create authentic and emotionally impactful soundtracks.

Customization

Every aspect of a composition can be adjusted by composers, who can change tempo, dynamics, and effects to fit the storyline of the movie.

Experimentation

Sample libraries allow composers to explore novel soundscapes and push the boundaries of music through creative experimentation.

Remote Collaboration

Global collaboration among musicians and composers makes it easier to incorporate a variety of musical inspirations.

Consistency

Sample libraries eliminate variations in sound quality that can arise in live recordings by ensuring consistent sound quality throughout a score.

Accessibility

Sample libraries are digital, so composers can work more conveniently and flexibly from almost anywhere with an internet connection.

Preservation

The musical elements are preserved by digital sample libraries, making it possible to easily recreate or alter the soundtrack for upcoming projects or adaptations.

Types of Sample Libraries

Sample libraries are available in many designs, each suited to a distinct set of musical requirements. For musicians and composers, these libraries are a veritable gold mine of pre-recorded instruments and sounds.

Orchestral Sample Libraries

Orchestral sample libraries offer composers a diverse set of virtual instruments that have the depth and richness of a full orchestra. These libraries are necessary for creating epic, emotionally charged soundtracks using meticulously sampled strings, woodwinds, brass, and percussion.

Solo Instrument Libraries

Solo instrument sample libraries capture the nuances and expressiveness of individual instruments. Composers can write intimate solo pieces for instruments such as the piano, violin, or flute.

Instrument Group Libraries 

Instrument group sample libraries offer a well-balanced selection of instruments from specific categories, such as winds, brass, and percussion. They make it easy to access extended ensembles of symphonic compositions.

Vocal Sample Libraries

Choirs, lead singers, and vocal effects are all available in vocal sample libraries. Composers can use these libraries to add compelling human voices to their scores, increasing the emotional depth of their music.

Synth and Electronic Sample Libraries

Various synthetic and electronic sounds are available through synthesizers and electronic sample libraries. Composers can create futuristic, experimental soundscapes perfect for science fiction and contemporary film genres.

Percussion Sample Libraries

Drum sample libraries contain a diverse collection of drums, percussion instruments, and sound effects. From subtle accents to thunderous, adrenaline-pumping rhythms, they form the rhythmic foundation of film music.

World and Ethnic Instrument Libraries 

International and ethnic instrument sample libraries capture the essence of global musical traditions. Composers can infuse their scores with the distinct timbres of instruments from around the world, lending cultural authenticity to their music.

Special Effects and Sound Design Libraries

Special effects and sound design libraries provide diverse, unique, and cinematic sound effects. They are necessary for creating immersive soundscapes and improving audio storytelling.

Hybrid and Sound Design Libraries

Orchestral and electronic elements are combined in hybrid and sound design libraries, providing composers with a mix of traditional and contemporary sounds. These libraries are ideal for creating soundtracks for cutting-edge film projects.

Cinematic Soundscapes and Atmospheres

Pre-recorded sound environments, such as cinematic soundscapes and atmospherics, enable composers to create moods and atmospheres that enhance the narrative experience. These libraries are critical for determining a film’s emotional context.

Vintage and Retro Instrument Libraries 

Vintage and retro instrument sample libraries transport composers back in time using meticulously sampled past instruments. These libraries are ideal for evoking nostalgia and the atmosphere of specific eras.

MIDI and Loop Libraries

Composers can access pre-programmed musical patterns and sequences using MIDI and loop libraries. They are ideal for various film music projects because they provide a quick and efficient way to generate backing tracks and musical ideas.

Selecting the Right Sample Libraries

Choosing the proper sample libraries is critical for composers and musicians because it significantly impacts the quality and effectiveness of their music. Here are some essential factors to consider when selecting sample libraries:

Musical Genre and Style

Determine your project’s musical style and genre. Choose sample libraries that suit your creative vision, whether orchestral, electronic, or world music.

Instrumentation

Consider the tools you’ll need for your composition. Ensure that your sample libraries include a wide variety of instruments and articulations appropriate for your needs.

Quality and Realism

Examine the examples’ quality and realism. High-quality libraries with detailed articulations and dynamic range are required for authentic and emotional sound.

Budget

The cost of sample libraries varies greatly. Set a budget and search for libraries that provide the best value for money while meeting your needs.

Compatibility

Check compatibility with your music software or digital audio workstation (DAW). Make sure that the libraries you select work seamlessly with your production workflow.

Content Size

Consider the sample library’s size. Some libraries are quite large and require a lot of storage space. Check to see if your system can handle it.

User Interface

An efficient workflow requires a user-friendly interface. Libraries with user-friendly interfaces and simple navigation can save you time and effort.

Updates and Support

Consider the library’s developer’s reputation. On your creative journey, regular updates, customer support, and a strong community can be invaluable assets.

Demo Versions

Try out demo versions of the sample libraries whenever possible. This allows you to assess the samples’ quality and suitability before purchasing.

Licensing and Usage Rights

Understand the license terms and usage rights of the library. Some may restrict the use of examples, particularly in commercial projects.

Scalability

Consider your future requirements. Some libraries provide extensions that allow you to expand your collection as your musical projects evolve.

Unique Features

Look for libraries with unique features or tools to help you differentiate your compositions and inspire creativity.

Performance Requirements

Take into account the system performance required to ensure proper library operation. Check that your hardware can meet the requirements of the library without causing technical issues.

Reviews and Recommendations

Get feedback from other composers and musicians who have used your chosen libraries. Reviews and recommendations can be valuable sources of information.

The Future of Sample Libraries in Film Scoring

The future of sample libraries in film music is likely to be exciting and transformative, thanks to technological advancements and shifting creative landscapes. Here are some critical future trends and opportunities:

Artificial Intelligence (AI) Integration

AI will play a significant role in creating and customizing sample libraries. Components can use AI-powered tools to generate music tailored to specific scenes, moods, or character dynamics, reducing the need for manual composition.

Real-Time Collaboration

Improved internet connectivity and collaboration tools will allow composers, musicians, and orchestrators worldwide to collaborate in real time. This can result in more diverse and culturally rich soundscapes in film music.

Interactive Scoring

With the introduction of virtual reality (VR) and interactive media, sample libraries can evolve to support dynamic scores that adapt to the viewer’s experience in real-time. This results in immersive and personalized soundtracks for each audience member.

Customizable Sound Design

Advanced sound design capabilities are likely in sample libraries, allowing composers to create unique and complex sound textures. This adaptation can result in very unique and innovative soundtracks.

Blockchain for Licensing and Royalties

In an increasingly globalized industry, blockchain technology can be used to track sample library licensing and royalties, ensuring fair compensation for composers, musicians, and sample library developers.

Augmented Reality (AR) Integration

AR could enable composers to interact in real-time with virtual instruments and soundscapes, blurring the line between the physical and digital worlds and adding new dimensions to the creative process.

Evolving Sample Capture Techniques

The quality and realism of sample libraries will continue to improve as recording technology advances. Techniques such as binaural recording and ambisonics can accurately reproduce spatial audio.

Community Collaboration

Sample libraries can foster collaboration among composers by fostering a collaborative environment where users can share and exchange ideas and compositions.

Unlock the Secrets of Sample Libraries in Film Scoring: Enroll in Our Course Today!

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Whether you’re a music fan, a budding filmmaker, or someone curious about the world of film music, our program welcomes people from all walks of life. 

Take your chance to elevate your film-scoring skills and embark on an exciting music, film, and digital media career. Enroll in our Film Scoring Course today and unlock the secrets of sample libraries. Start your journey towards becoming a professional film composer. 

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FAQs

Library samples are pre-recorded sound clips or instrument performances that musicians and composers can use to enhance their work. They include a diverse range of instruments and sounds, which are frequently organized in sample libraries for easy access.

Yes, film composers use samples to access various instrument sounds, from orchestral to electronic sound effects and atmospheric textures.

Orchestral instruments (strings, woodwinds, brass, percussion), synthesizers, electronic instruments, and occasionally world and ethnic instruments are used in film scores.

The project’s needs determine the selection of an audio interface. Still, popular options for film scoring include the Universal Audio Apollo series, Focusrite Clarett, and RME Fireface series, known for high-quality audio conversion and low-latency performance.

A soundtrack is typically composed of songs and music not original to the film. On the other hand, a score is original music composed specifically for a film to enhance its storytelling, mood, and emotional impact.

Conclusion

Sample libraries have progressed from a useful to an indispensable tool in film music. This comprehensive guide delves into this technology’s various types, benefits, and prospects. 

Film composers can create cinematic soundscapes that take storytelling to the next level by constantly developing sample libraries. As technology and creative possibilities advance, the role of sample libraries in film music will continue to transform and enrich the magic of cinema for years to come.

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Take a look at our Syllabus

PART ONE – Chordal State Lecture

  • Chordal States – constantly change based on harmony, melody, and film emotion
    • Grounded state versus Ungrounded state.
      • Grounded states and examples
      • Ungrounded states examples including altered tone degrees or dissonance.
    • Tools to use in between Grounded and Ungrounded, when you don’t know what the emotion will be:
      • Lydian Mode “chord” – Root + Major Third + Flatted 5th
      • Augmented triad example
      • Suspended triad
      • Intervallic triad
    • Spotify Listening – Film Score Intensive 1 playlist.
    • Homework Session – Thor Love & Thunder cue

PART TWO – Spotting, Dialog, Scoring Devices

  • Questions to ask at a Spotting Session
  • Writing around dialogue
  • Musical Devices – Key, Mode, Register, Tempo, Density, etc
  • Review Michael’s Thor cue – introduction to the review process

PART ONE – Animated Scoring and intro to Harmonic textures

  • Review of students’ Thor cue
  • Monophonic Orchestration Style (#1) from George Frederick McKay’s Creative Orchestration – 8 Orchestra Textures
    • Can be a solo instrument, doubled in octaves, or unison at same register with different instruments.

Homework – Sonic the Hedgehog cue

PART TWO

  • Review of students’ Thor cue

PART ONE – Expanded Harmony and intro to comedy writing

  • Chordal Harmony (#2) and Onomatopoeia (#8) Orchestration Style
    • Chordal Harmony – melody is supported by chords, without countermelody or conter-rhythm, in its entirety.
    • Onomatopoeia – music sounds like its subject – any musical device you can think of.
  • Review of students’ Sonic cue
  • Kids’ Music and Comedy – Types of writing – bumper-based shows, rock/pop, cheesy and sparse, short stings or reactionary scoring, electronic/EDM, classic lo-fi, instrumentation, etc.

Homework – Little Margo cue

PART TWO – THURSDAY-SCI FI Music, Chromatic Expansion and Hans Zimmer Music

  • Review of students’ Sonic cue
  • “How DUNE Composer Hans Zimmer created the Oscar-winning score l Vanity Fair” YouTube video
  • Review of students’ Little Margo cue

PART ONE – Chromatic expansion, polyphonic texture, Sound design drones

  • Polyphonic Writing, Orchestration Style – consists of two or more simultaneous melodic lines. Similar to fugues or counterpoint. Maybe side by side to start, then together.
  • Spotify listening playlist – Polyphonic Harmony
  • Chromatic Expansion – Take the top voice and go up chromatically while chords change underneath.
  • Review students’ Little Margo cue
  • Making a Drone using a Synth Plugin
  • Homework – Mandalorian cue

PART TWO – Live Scoring “star Wars” Speed Writing

  • LIVE Scoring session – Star Wars Carbonite – spotting and scoring
  • Loopback sample setup

PART ONE – Modulations, secondary harmonic dominants, James Bond Music(SPY)

  • “Kobe Bryant’s Greatest Speech – BEST Motivation Ever” YouTube video
  • Review of students’ Mandalorian cue
  • Secondary Harmonic Dominants (teoria.com) – method of prolongation of the chordal structure and movement to another chord or key, including false cadences.
  • Spotting session – Golden Eye cue
  • Spotify playlist – Bond Music – Spy music – review instrument palette and playing styles.

WEEK 5 PART TWO – Templates Intro including libraries, MIDI CC

  • “John Barry and David Arnold – The Music of James Bond” YouTube video – music review
  • MIDI CC’s – 1, 7, & 11 – how to get a quick and dynamic response from brass and strings.
  • Michael shares a look at his Template and favorite Libraries.

PART ONE – James Newton Howard, Trailer music,

  • “The Pretty Woman soundtrack changed my career / James Howard Newton on Composing” YouTube review.
  • Review of students’ Golden Eye cue
  • Trailer & Promo Music – both part of music library music
    • Promo – Station promotes a new show or episode coming up
    • Trailer – written in shorter sections, not a lot of modulation or melody, with editable hit points, ostinato, swells, etc.
    • Spotting session – Joker Trailer cue

PART TWO – Guest in depth dive of Vienna Ensemble and Midi mapping/articulations

Guest teacher Steve Steele – Creating Articulation Maps, Vienna Ensemble Pro, Babylon Waves Art Conductor, MIDI CC’s, creating a workflow and Aux’s in your Template in detail.

PART 1 – Sound Design,Reharm progressions, Motifs and themes

  • Sound Design – anything non-orchestral or non-band oriented
    • Best chance of success in trailer music if you are good at sound design – more important than how good you are at orchestral music.
  • Spotify listening playlist – Sound Design
  • Incorporating Sound Design alongside Orchestral music in trailers, so you can hardly tell which is which. Strings and Synths made to sound like one thing – together.
  • Review of students’ Joker Trailer cue
  • Spotting session – Star Wars Return of the Jedi cue.

PART 2 – Reharm discussion including John Williams, Hybrid Brass

  • Reharmonization – cool chord progressions
    • vi-IV-II is a very powerful one, cinematic, gets you out of one key
    • vi-IV-VII keeps building and overcoming.
    • Variations: I-iv6-II Great for REVEALS with the last chord
  • Hybrid String-Synth and Brass-Synth creation
    • How to make a Hybrid Synth & Orchestral String instrument from scratch, including many FX plugins
  • Star Wars Theme Reharmonization ideas

PART 1 – SATB Scoring, Homophonic textures, Musicals

  • Homophonic Texture orchestration style – Melody with texture of chords underneath. SATB
  • Review of students’ Star Wars Return of the Jedi cue.
  • Homework – Lion King cue

PART 2 – Live Satb Scoring, Voice Leading In Film Scores

  • Review of students’ Star Wars Return of the Jedi cue.
  • LIVE Scoring – SATB
  • “How to Get From Chord to Chord – Voice Leading Music Theory by Odd Quartet” YouTube video review
  • “The Orchestration Method that ALWAYS Works by Ryan Leach” YouTube video review.

PART ONE – ADVENTURE MUSIC, Advanced Orchestral Devices

  • Flying and Adventure music – instrumentation and characteristics
  • Review of students’ Lion King cue
  • Homework – Jurassic Park cue
  • Orchestral Devices
    • Bi-tonal division – ability to superimpose other modes over/under your melody
    • Metric Modulation
    • Elongation
    • Melodic Counters
    • Register Division
  • Analysis of 1 minute of John Williams’ Jurassic Park Conductor’s score

PART 2 – Music Business Part 1, Music Libraries, Brand Development

  • Review of students’ Lion King cue
  • Analysis of Jurassic Journey to the Island
  • Music Business – Pitching to Music Libraries – What to Do
    • Creating your own catalog, brand and unique perspective.
    • Write a few paragraphs about your “Brand”.

PART ONE – Westerns And Their Traditional Orchestral Devices

  • Review of students’ Jurassic Park cue
  • Western Music review – instrumentation, characteristics, etc
    • Western Sub-Styles –
      • The Good, The Bad and The Ugly
      • Aaron Copland Heroic style, such as Billy the Kid
    • Spotify listening playlist – Westerns FSS
    • Spotting session – Butch Cassidy cue
  • Review of Western music sample libraries

PART TWO – Writing Transitions, Vertical And Horizontal Compositional Syles

  • Review students’ Jurassic Park cue
  • Transitions in compositional scoring
    • Trumpet Transition sample
    • Displaced Entry Transition
    • Major 7 on the V chord Transition
    • Rhythmic Displacement Transition

PART ONE – Orchestral Reductions, Holst Analysis And Uses

  • Review students’ Butch Cassidy cue
  • 20th Century Orchestration Style –
    • Holst: The Planets listening and review instrumentation and characteristics
  • Analyze “Mercury, The Winged Messenger” section from The Planets, and do a Score Reduction.
    • Dovetailing – when you move the melody or something up and down in register and section of the orchestra.
    • Major Tetrachords
    • Staggered triads in the Harp
  • “The Planets: Mercury, the Winged Messenger Score Reduction and Analysis” YouTube video
  • HOMEWORK – Spiderman cue

PART TWO – Invervalic Writing,in Class Score

  • Review students’ Butch Cassidy cue
  • Intervalic writing style (from Paraschetti book on 20th Century writing) – can be used under dialogue and can also be a way to transition between tension and release. The point is to create tension under the score without key and mode. Move by chord or by single notes. Every interval in a melody has an emotion. Review each one.
    • Two levels to Intervallic writing – Melody and Harmonization

LIVE scoring – write a melody with 2 woodwinds, with 4 changes in the melody, 4 intervals. Harmonize with another instrument underneath. Note change in emotion.

PART ONE – Hybrid Scoring Intro

  • Review students’ Spiderman cue
  • Hybrid Sound Design Music inspired by Songs
  • How to make a Pulse from scratch, including FX plugins
    • Favorite plugins and libraries
  • Spotting session – The Matrix lobby shootout cue
  • Spotify listening playlist – Hybrid Scoring

PART TWO – Advanced Sound Design And Project Pitch Creation

  • Review students’ Spiderman cue
  • Stylus RMX and REX files
  • Audio Mangling tools and favorite plugins
  • LIVE scoring – Record something audio, chip it up, reverse, delays, distortion, glitches, etc. Make an instrument out of it.

PART ONE – Music Of Jerry Goldsmith, Sci Fi, Horror Music

  • Review students’ The Matrix cue
  • Horror music – instrumentation and characteristics, sample libraries
  • Alien soundtrack by Jerry Goldsmith analysis
  • Spotify listening playlist – Week 4 FSS Horror
  • Spotting session – Prey (Predator 7) Final Battle Predator vs Naru Fight Scene cue

PART TWO – Mixing Part One

  • Review students’ The Matrix cue
  • Mixing – Thing in Frequency Ranges. Group tracks by frequency
    • How to treat Tracks and Stems
      • EQ can be built into your Template. Every project may be different, though.
      • Make a Bus/Aux Track for each plugin effect.
    • Compression, Reverb, EQ etc. concepts and products
    • How to Set Up a Master Bus

PART ONE – Atonal Music

  • Review students’ Prey cue
  • Atonal music style – instruments, characteristics, sample libraries
    • Uses shapes and colors outside key and mode.
    • Doesn’t have to be dissonant all the time.
    • Nebulous emotional center
      • Two ways to increase emotional intensity – speeding up or down, crescendo/decrescendo
      • Homogenous instruments or Non-Homogenous instruments
    • Spotting session – Mizimono cue (Hannibal season finale)
    • Spotify listening playlist – Atonal Class Music
    • Ideas for Scoring Atonal Music
      • 12-tone system of writing
      • Use Intervals in dissonant shapes
      • Alternate mild consonant interval to a more dissonant interval in succession
      • Clusters

PART TWO – Switching States And Emotions Rapidly, Midi Mockup

  • Review students’ Prey cue
  • LIVE Scoring – Atonal to Tonal – Grounded to Ungrounded
  • How to Record Initial Volumes into MIDI Instrument Tracks (and Gainstaging)
    • Adjusting CC’s on instruments, stems, leaving headroom on the master bus

PART ONE – Team Scoring Week, Bernard Hermann

  • Spotify listening playlist – Film Score History – Bernhard Herman, Vertigo & Psycho film scores
  • Review students’ Mizimono cue
  • Working with a Team – Work in pairs remotely to write Great Wolf Lodge cue.
    • Some of the best film score composers today have teams – Hans Zimmer, Harry Gregson-Williams, etc.
    • Who will write what? Style? Tempo? Key? Who will do the Deliverables to submit to Producer?
  • HOMEWORK – Great Wolf Lodge cue

PART TWO – Stacks And Ensemble Writing, Master Business Planning

  • Review students’ Mizimono cue
  • LIVE Scoring – Make an Instrument by Stacking instruments – Omnisphere is great for this. Trailer music and music library work, and Pop – these will require that you bring something new to the table. Can turn them into Risers, resample them, add FX plugins, etc.
  • Write a Master Plan – Don’t be on the No Plan Plan. Make a list of people, organizations, events, etc that you can access to promote yourself and make connections and relationships.

PART ONE – Computer Technology, Romantic Comedies

  • Computer configuration – Tech spec discussion regarding requirements for a good computer or network – size, speed, etc.
  • Review students’ Great Wolf Lodge TEAM cue
  • Romantic & Romantic Comedy music –
    • Instruments, writing styles, sample libraries
    • Woodwinds feature heavily, Pizzicato, Lydian mode, mallets, not super heavily orchestrated, etc
  • Write a Romantic Theme for violin. Deliver a chart for just the violin part. Send audio of orchestration or accompaniment with separate click track. Next week, we’ll have a live violinist in the studio to play and record your theme.
  • Spotify listening playlist – Romantic Comedy Score review
  • HOMEWORK – Titanic cue

THURSDAY – LIVE RECORDING IN CLASS WITH STRING PLAYER

PART ONE – Sync Music,promo Music, Hits Slams, Drums

  • Review students’ Titanic cue
  • Sync Music – Different styles, musical beds, used before TV shows, announcing new series/episodes, in movie trailers.
    • Definite format to this style
    • Big drum sounds
    • Editable hit points
    • Original music or Soundalikes
  • How to get your music in front of the right people. Who are the right people? How does the business of Sync music work?
  • Spotify listening playlist – PROMO Music/Sync playlist.
  • HOMEWORK – Back to the Future cue

PART TWO – Trailer Music<,music Pitch Part Two

  • Review students’ Titanic cue
  • LIVE Scoring – Trailer ending sample (last 15 seconds)
    • BIG ending, fast and frantic
    • Rise, Post Hit, then a sparkly thing at the end
  • Samples Libraries good for Trailer sounds

PART ONE – Video Game Music And Industry

  • Video Game Music – Non-linear, think in “blocks” of music
    • Must loop right at the zero point and create a tiny fade at the front and the end. Snap to Zero Crossings.
    • Emotional Mapping
    • Vertical Resequencing, Horizontal Resequencing
    • Cross Fading
    • Transitions
    • Middleware – Game Audio Engine
  • Spotify listening playlist – Video Game Music Mix
  • Spotting session – Video game cue “sections”. Deliver loopable audio regions for selected parts of the game.
  • Review students’ Back to the Future cue

PART TWO – Advanced Chordal And Tectural Scoring Techniques

  • Review students’ Bank to the Future cue
  • LIVE Scoring – Leading Shapes, Whole Tone Scale – Go from Lydian shape to resolution, which needs to modulate somewhere else. Use Leading or Common Tone resolutions style.
  • Leading Shapes, Whole Tone Scale – very useful if someone comes to a new place, or if there are mixed emotions.
    • Two whole tone scales – one starting on C and one starting on C#. Triads are all Augmented triads. Lots of Lydian Shapes in the Whole Tone Scale.
    • Leading Resolution
    • Common Tone Resolution
    • Alternate Root Notes

PART ONE – Mixing And Mastering

  • How the Video Game music business works – special events, etc
  • Review students’ Video Game loops
  • Mixing & Mastering Considerations –
    • Think front to back – far to close
    • Where to put reverb plugin in the signal chain
    • Frequency Masking
    • Drum sample mixing
  • HOMEWORK – Toy Story cue
  • Students screenshare live and “show and tell” their mixing workflow for the Toy Story cue. Have DAW open to show us.

PART TWO – Guest Composer

  • Guest composer Gigi Meroni Animation music specialist.
    • References for music given by Producers.
    • Are most of your episodes shorter these days?
    • Do you get writer’s block?
    • What are some good ways to try to get work when you’re just starting out?
  • Mixing Drums – Split them out and mix separately – LOTS of detail regarding drum positioning, panning, bleed, overhead mics, EQ ranges for each drum type, etc.

PART ONE – Personal Plan, Business Development, Final Full Episode

  • Review students’ Toy Story cue and DAW Mixing/Mastering workflow
  • HOMEWORK – Wolf Lodge FINAL 24-minute episode cue
    • Theme for each character
  • ScoreCraft Academy Post Class Action Plan review
  • 20 questions to answer in detail about what concrete things you will do within different timeframes to get you further along in your composing career

PART TWO – Speed Write

  • Review students’ Toy Story cue and DAW Mixing/Mastering workflow
  • LIVE Scoring – Speed & Accuracy – How far have you come?
    • Section vs Section of Orchestra contrast. Write one complete section of the orchestra by itself, not across sections, and write it into another section of the orchestra.

PART ONE – Synthesis

  • “Analog Synths Explained” from Groove 3 video by Scott Dugan
    • Oscillators, Filters, Envelope Generator, Attack/Decay/Sustain/Release ADSR, Low Frequency Oscillator (LFO’s)
  • Favorite analog synth plugins and hardware.

PART TWO – Getting Paid, deliverables, Live Sound Design Session

  • Music Library Business format and payment process, royalties & publishing
  • LIVE Scoring – Sound Design Synthesis – Learn to use an LFO. Write a 20 second Intro to a trailer.
  • Omnisphere’s LFO – How to assign and use LFO’s

PART ONE – Brand Development, director Producer Interviews

  • What is your BRAND? It’s more than just music. It’s your journey. Document your journey, and share it! Do it in a way that will inspire people.
  • What will you bring to a project?
  • Why am I right for the project?
  • Michael interviews each student with the questions above.
  • Important concepts to convey to potential project managers –
    • I’m an expert, not a jerk about it.
    • I have a passion for music.
    • I have a passion for the project.

PART TWO – Personal Development, Score Reductions

  • Conductor’s Score Reductions review
    • Scherzo for Motorcycle and Orchestra score reduction and analysis Indiana Jones (NMK Music)
    • Finlandia score reduction and analysis (NMK Music)
  • Uncommon Sense for Creative People – Whitty-isms
  • Submit “My Strengths and Weaknesses” paragraphs to Michael. Notice how they may have changed since the beginning of the class.

Final Wrap

  • No Zoom – just hanging together.
  • “Alan Silvestri breaks down the composing workflow behind his blockbuster scores” (by Native Instruments) video
  • “Watch this every day and change your life – Denzel Washington Motivational Speech 2023” by AlexKaltsMotivation video
  • Final