It would be nice if EastWest published at least one project for all popular DAWs in order to be able to study in more detail how to work with these libraries.
My hat is off to you, sir! My only complaint is that you have revealed to me that I am not nearly as accomplished a composer as I would like to think. Your scoring for this demo/tutorial was incredibly complex and powerful--AND CREATIVE!! I would also like to see tutorials that 1) demonstrate/teach how to more effectively use elements from Orchestrator; 2) demonstrate/teach the tips and tricks for working with other DAWs; and 3) allow us to study firsthand the score. But overall, this is very impressive!! I can't wait to find the time to delve into the other tutorials for OPUS! Well done!!
Congratulations, and thank you for yet another terrific and valuable demonstration of your workflow. IMO your entire series of EW tutorials is essential content for any of us wanting to dive deeper into EWCC. Thanks again!
It was a pleasure and an honor to watch you work. I learned about some virtual instrument packs that I haven't used. Every time I orchestrate a new song, I run across things I never heard before. You made my sifting job a little easier with this video. Primitive and violent; we're all one week of lights out away from becoming the actors in this video.
I just finished scoring an entire feature almost exclusively using OPUS/Composer Cloud, and I had a blast. (I was upgrading from the older Symphonic Orchestra w/ PLAY.) The old Symphonic Orchestra still holds up great and has some unique, unrivaled patches for sure, but the Hollywood Orchestra with OPUS was a real pleasure to work with. There were a few bugs here and there with the OPUS engine (which I suppose is to be expected with something so new) but overall I really dig it.
Great demonstration of the capabilities of various EW libraries, and also really clear explanation of compositional choices. Thanks - very informative. Hope you do lots more of these - really helpful and enjoyable.
I honestly love opus. Had a bit of a problem with multi routing for some reason, something messing up with how many outs a bus channel has, but I set it to stereo per bus and seems fine now. Other than that I absolutely love it. Also, really nice arrangement. Worth taking a deeper dive to up your skill!
Hi Vae. I'm also having problems on audio routing to Pro Tools 12.3. It doesn't work when opening the project but it gets fixed after a bounce, so I always do a 1sec bounce after opening the project. I have a ticket opened with EW... hope they fix it soon.
Valuable walkthrough thank you! I'd love to see a little more on some of the mixing details for pieces like this! The mix compliments the composition very well.
Congratulations on both your knowledge of EW, and the quality of your composition. I've been on the cloud since January, and I can vouch that it's a godsend for creativity.
Excellent tutorial as always concerning the use of libraries and the orchestration,, however, I'd like to ask some more composing focused questions too: 1. How do you select the tempo for a given phrase? Do you try to maintain a set number of bars between two hit points? 2. How do you find the cue points? 3. Is there any guideline you use for chord voicing, especially for brass?
Hi Laszlo! So, 1) tempo is sometimes just based on the reference I/the director chooses. Otherwise, I just go with whatever feels right. I can't say there's much of a science to it (at least not for me). 2) Cue points are just going to be significant changes in visuals. If something big changes in the visuals, something needs to change in the music. 3) Avoid closed voicing, especially in low brass. That's just the short answer; I'll try to address these questions more in depth in later videos :)
Brilliant Ryan! when are we going to see a "from scratch composing" with OPUS? 😉 I think it'll be the best way to learn what's behind those naughty midi notes :)
Curious about the routings on the reverb settings - are instruments hitting their main reverb plus the digital hall, or are some hitting their main, the digital hall, and the Abandoned Abbey as well? Thanks.
All instrument groups (I mostly do bus level processing) hit their individual reverb in addition to the digital hall. So two sends. The abandoned abbey is reserved for instruments that just need a really long reverb tail, but those instruments are also sent to the digital verb as well.
Ryan Thomas, great demonstration and presentation of these libs! 👍 👏 Everything in practice, as always should be shown while presenting new virtual instruments and effects 🎹 👍
Fabulous work. I use OPUS but I have a question, how many Opus instances open with you for such a project? What is your CPU hardware configuration? Thank you for enlightening me a little to be able to improve my system. And congratulations again.
Ryan! Great tutorial, big EW fan and user here. As we all know EW is a very demanding mistress in terms of pc capabilities. It would be of great help to many of us lesser mortals if you could share with us your computer specs. If you are on a mac then that would be useful too in terms of upgrading as I am thinking about at this time. Thanks in advance.
Great demo thanks ! Just wondering if anyone has experienced slow (minutes ) save times when using Hollywood orchestra Opus edition - about 25 instruments. Playback in fine though.
