Jim Well: How Big, How Fast, and Just Plain How

Back to the School of Chops. You may recall from my July 15 article on WIVIs (Wallander Interactive Virtual Instruments) that I’ve been exploring orchestration and simultaneously honing my MIDI skills by sequencing Stravinsky’s classic work, The Rite Of Spring. Today, I’d like to share some of the key things I’ve learned so far in this ongoing, long-term project. Questions and Goals How does my project relate to SCOREcast’s theme of the month: planning and scheduling? Well, I’d argue that before you can schedule and plan major scoring projects for real clients, you need how you’re going to do the job. Before you commit yourself to a deadline with financial consequences, you’d better have in…

Advanced Mockup Techniques

I’m going to dive in straightaway in this month’s column with a handful of advice for those of us that have to mockup our music (i.e., all of us). LEARN YOUR SAMPLE LIBRARIES The simplest way to do this is just working on a project. If you don’t have a big one on the table, make some exercises or write some library music- get to know the strengths and weaknesses of your samples, and their unique characteristics. Is there reverb on the sample? If it is nice reverb, perhaps you can leave it in or match your other samples using similar reverb settings. If not, can you alter the release or decay section of the…

Should Composers Care About 64-bit?

In my last Tame Technology column I briefly mentioned that I would talk about how we can use our soft samplers to get around the limitation of the 32-bit memory space. What is 32-bit memory space? What is 64-bit? Why do I care? Well, the short answer is that for most of your work you shouldn’t care, but if you are using large sample libraries, stick around. Editorial note: I won’t get into all the things needed to make your computer 64-bit ready. There are many great computer articles and discussions based on your type of computer. Suffice it to say, to completely take advantage of 64-bit architecture your machine needs to have 64-bit processors…

Jim Well: Sample Libraries, Meet WIVI

In last month’s Inside The Outside column, I explained that as a composer-in-the-making, I’m hard at work in the School of Chops, learning about writing for traditional orchestra. I want to know how I can create various timbres, textures, and effects – that communicate emotions and moods – using combinations of instruments and playing techniques. By studying scores, listening to performances, and emulating, I aim to unlock the secrets of great composers who, either long ago or recently, have written music that moves my soul. At the same time, I’m striving to perfect the methods I use to mock up complete orchestras and scores, using my DAW, studio gear, and collection of virtual instruments. These…

Why Every Composer Should Own an Analog Synth

I’m not quite sure how big the analog renaissance really is, so maybe my post is old news. Regardless, I’d like to take some time focusing on the use of an analog synthesizer in your studio. “TOUCHABLE” SOUND If most young composers are like me, they’ve spent the majority of their musical lives in the digital world, staring at a computer monitor and pushing virtual buttons and moving pixelated sliders to create music. And while this is all fine and dandy, many young composers have little hands on experience with electronic instruments. Even if they have, it’s usually with modern digital synthesizers consisting of nested menus, a few buttons, and a couple of knobs. Some…

Gateway Scores: Alien

I don’t know if this is a true story. Richard Burton was playing the lead in a comedy on Broadway. Before making his entrance he told the stage manager, “Tonight, I’m gonna make ‘em cry”. He went on and, as promised, he brought the audience to tears when they should have been laughing. With the greatest respect to the ghost of Richard Burton, film music can also evoke tears, tension, fright and every other conceivable emotion. Speaking of ghosts, I’ve sat many times on an empty Fox scoring stage wondering how Joseph Mankiewicz reacted the first time he heard Bernard Hermann’s main title of “The Ghost And Mrs. Muir”. Did Mankiewicz break down in tears?…