Dan, I really like your trick for EQing out the attack on the Olafur Felted Grand! That's quite clever to get the sound you achieved. Thanks to you and Spitfire for the added educational content with these little hidden gems and new ideas.
Back in 1992 I'd have to read the manual and do one's best to work out how the equipment worked. Today the internet delivers this kind of helpful advice. Lucky me, lucky us! Great work and many thanks for the information provided.
This is amazing and please bring more. These " how to " videos teach us a lot, more than you can imagine. I respect and appreciate the talent of course but it always helps to see under the hood :)
I recently won an organ composition competition. My last 2 organ works ('Laurel Canyon' + 'Luce Prima' on my channel videos) are a bit Interstellar-ish, though I was honestly not aware of the movie music before. The tracks are performed live (I have Masters in composition etc) by myself. The Spitfire Symphonic organ looks great for movie music - I am considering that! I have just started using the excellent BBC Core for a new piece (my 'Prometheus' on my channel was done on Discover). Most of my works are non-organ though e.g. my Trumpet and Piano Concerto, Don Quixote e.t.c. This video, by Dan is great as always. He makes things very clear. If of interest to anyone, Luce Prima will be played by the organist of Rochester Cathedral in Fleet Street London in Oct 2021.
Thanks Dan, your talent shines through once again. I'd be interested to know where you began with this piece as there doesn't seem to be a piano sketch.
There's just too many choices for me. Every time I open Spitfire Audio libraries I am not able to finish a piece, there are just SOOOOO many options and I keep working and improving and working again and improving...damn it!! ;)
Well, we share 2 things, apparently: our names (I'm Damián too) and that overwelming sensation about the infinite posibilities. What really helps me narrowing the options down is to think (and actually write down in paper) what I am trying to say, what is that music about. Or think of it as a scene in a movie, what's happening there, what colors do you see, what temperature, what are people feeling, what are you representing. For example, the composer here talks about "fragility" of the scene, or the gravity in space, and that is translated into specific choices in the composition, both in structure and in sound. I always think "bah, I don't need to do that, I'm just going to improvise", but when I think about those things, my music tends to be more organized, it has more sense, and not only for me (that I know what I wrote), but for everyone who listen, they can sense the work has some sort of unity. I don't know, that works for me at least. I hope it helps!
Sounds awesome just needs some space inbetween a couple of chord/dynamic changes to let the music breath I feel. Definitely brought me into the Zimmerverse :D
Excellent piece and video! Quick question! How to you set logic to pick up MIDI notes half way thru so you don't have to start from the beginning to make them trigger?
When you soloed some of the tracks I could hear kind of a 'hissing' noise. I thought initially it was just the air movement on the organ but I also heard it on some of the other instruments like the piano. Is this something you added yourself or is it a limitation of the sampling process? Examples at these points in the video: 8:45, 8:58, 19:25
Maybe someone can help me out. I got the symphonic organ deal two weeks ago and when I downloaded it it didn't work. It was stuck in the "demo" mode and I've read on the website and other places to try and fix it but I just can't get it to work. Kinda of bummed that I can't use it. This video gives me so much inspiration and ideas.
I believe he's using various Spitfire libraries. I think I heard him say Symphonic Library and I think there's some sounds from Albion libraries (Tundra?). Also BBC Symphony Orchestra. Not sure where the piano comes from
@@plasticcreations7836 the Piano is the felt grand from Olafur Arnalds Composer Toolkit (19:00). He's also using the new Albion Solstice, HZ Percussion and Symphonic Brass. Just a few hundred dubloons worth of samples :D
What I’ve been wondering all this time… where do people acquire their knowledge for film music? Do you offer some sort of production courses for those who not went to a professional school?
@@SomniatorSound If you don't go to school (music studies) you'll never achieve your full potential. Scales, Modulations, Overtones, Motifs, Circle of 5ths, Chromatism, Instruments Tamber, 3/4, 7/8 Rhythm...Articulations, etc... Unless you're blessed to be Godfathered by someone who works in the industry who put you up to it... So please, never encourage someone to not study if you don't know what's up there.
@@rumar4u That's a silly take, people who didn't go to school can perfectly well work in scales, modulate, use overtones, develop motiefs, move across time signatures and understand articulations. It's like saying "if you don't study parts of speech, sentence structure, and every other formal linguistic category then you can never write a story to your full potential". It just isn't true, because people can and do grasp all those things and more from reading stories and listening to music, they don't need to be given some formal name with a curriculum attached.
@@rumar4u While you are obviously right that studying music will help you reach your full potential, your comment comes across like formal musical education is required to make film scores which is just not true at all. I would consider Christian from Spitfire rather successful and he talks all the time about how he doesn't have a formal music education. With the tools available today, you don't even need to be able to play the C major scale on a keyboard and you can make some amazing music. Most of what you listed as essential things you learn in school are easily accessible through thousands of videos on RU-vid, many even on this channel. Again, I'm not trying to argue against the benefits of musical education. They are real and obvious. This comment just felt a bit gatekeep-y and I think it goes against everything that Spitfire tries to promote, which is film scoring/digital orchestration is accessible to anyone, even with just a computer.
@@rumar4u Sorry my guy but this really is not true. Going to school does not inherently guarantee learning. None of what you listed as examples are exclusive to schooling, and can all be learned through reading or RU-vid or whatever other platform. Some people don't do well in school, and some people learn better in school than they do outside. It's all up to the individual. A lot of musicians never went to school for it and many can't even read sheet music. You don't need school to pursue a passion. Will it help? Maybe. Is it necessary? Absolutely not. That's gatekeeping and it isn't needed.
I think after a couple decades of this style, it is really time to move on. If you only know how to compose this type of epic music, your time was 10 years ago. Time to move on guys …. This is a very basic “composition”.
