Thankfully, despite the crippling budgets and restrictions of the modern media scoring climate, some composers still get the amazing privilege of working with a live orchestra to record their work. While the excitement and transcendental sound makes it completely worthwhile, the process also adds some steps to your workflow.
The flood of file formats in today’s audio industry can be a headache for those who haven’t kept up with the developments. If you’re looking for a one-stop reference for what the major formats are, what all the terms mean, and when you should use each, then you’ve come to the right place. Let’s get started by clarifying some terminology.
No modern action score is complete without a rousing percussion section hammering away beneath the rest of the instruments. Yet despite being one of the most important elements in the score, many media composers take the easy way out with their percussion, resorting to some tired loops.
If you’re sick of sounding like everyone else and have run out of ways to layer your loops over each other to sound “fresh”, then keep reading as I give you a quick look at what it takes to program your own percussion, …
A lot of careful work goes into creating a successful digital mock-up: you have to work with good samples, use them effectively, and make sure that the final mix mimics the sound of a real recording — but how?
Working in today’s film and game audio environment nearly guarantees you many opportunities to produce interesting and evocative soundscapes, but while working from pre-made synth patches is great for folks in a hurry, it pays to sit down and craft something by hand whenever possible.