It was Ryan's videos that convinced me to subscribe to Composer Cloud, and it's his videos that I keep returning to get the most out of it. Great stuff, as always.
I love to create HYBRIDS with orchestra instruments and synths...feels so right! Thank you EASTWEST SOUNDS, and checking what to buy there. Best wishes to all music creators around the world!
If I wasn’t watching this first I would have thought it was a real orchestra would have never believed this was midi!!! I usually can tell but not in this case!!! I can learn so much from this!!!
Hi I bought hollywood orchestral and I don't regret my purchase! it's amazing ALL THE TUTORIALS you put online. it's really great so thank you very much! :)
Ryan, it would be really great to do "composing from scratch" episodes so that we have a closer look to how you achieve the overall sound of your amazing pieces :) Keep it up and thanks for sharing
After 3 years plus going with EWQL, it's undeniably to say the least that this plugin requires you to be super creative with sound design. I suppose I could say we have so many other plugin companies, whom, shall not be named, that come up with newer libraries every now and then that sound completely "big" and "spectacular" on trailers or demos (keyword being). That is, if your creativity is only limited to presets. But the real deal, is what you make out of them. By far, EWQL has almost EVERYTHING you need. The libraries are totally vast, too immense to the point that you'd discover something new every now and then over something you installed over 6 months ago. You can literally create ANY music with it.
I was having trouble, getting stuck. I need to figure out the other pages on the Opus. You made Gold in the DAW today; Thank You for breaking down the Alchemy.
I liked your tremolo fx in the percussion , exactly one of my latest go to techniques in the last month. I discovered this after looking for an equivalent for Kontakt random panning of the factory library.
Thanks so much Ryan and EW for that Tuto. Brilliant demonstration. I have a couple of questions: - How are you dealing with negative delays from Orchestrator vs Opus shorts vs Forbidden planet? Everything sounds so well aligned. I could not find values in the documentation. - Any fancy mixing EQ stuff to get that sound ? I am asking since I am trying to produce a similar type of hybrid track with your tools and as usual it does not sound the same (most part is proably my orchestration I know!) Anyway thanks again !
Hi Stephane! To answer your questions, I don't really do much with track delays for a few reasons, suffice it to say I just listen to see what needs adjusting and it only takes a few seconds to drag the MIDI +/- a few clicks. So I'm afraid I don't have anything terribly useful for you there other than "trust your ears" lol. And yes, there's some mixing going on of course. If you've seen some of the previous videos, I cover some of the mix techniques I like to use (reverb, delays, etc.) but there's nothing extensive happening that can't be done without stock Logic/DAW plugins. Just some EQ, compression, and a bit of saturation. That's about it. Hope that helps!
Anyone else find this type of orchestration especially challenging in that there's no melody or recurring motif to it at all. But rather it includes a series of build ups and climaxes. I wonder how musical decisions are made with no motif--or at least none I can hear.
Is the "3 Terabyte" with the products on it.. Are they compressed and need to be expanded? If so, is there enough room on the drive to expand them there or do you need to move them to your computer's SSD?
With forbidden planet I noticed every sample is in the same pitch. Is the idea to use the transpose contorl if we need to change pitch? Are there complete keyboard instruments with traditional pitch or is the whole instrument a series of texture patches in one pitch? I'm trying to figure out how to work with this more consistently.
It was Ryan's videos that convinced me to subscribe to Composer Cloud, and it's his videos that I keep returning to get the most out of it. Great stuff, as always.
interesting to see how few tracks can be that impactful
I love to create HYBRIDS with orchestra instruments and synths...feels so right! Thank you EASTWEST SOUNDS, and checking what to buy there.
Best wishes to all music creators around the world!
If I wasn’t watching this first I would have thought it was a real orchestra would have never believed this was midi!!! I usually can tell but not in this case!!! I can learn so much from this!!!
You forgot to play the whole thing at the end without the sound design, but sounds awesome!!!
Hi I bought hollywood orchestral and I don't regret my purchase! it's amazing ALL THE TUTORIALS you put online. it's really great so thank you very much! :)
Phenomenal, well done. Wouldn't mind a full 8 or 24 or 72 hour video (that includes the thinking and experimentation) behind one of your scores.
That was a pretty detailed and informative walkthrough. Thank you!
Right?! More of these please. 🙌🏻🍻
Ryan, it would be really great to do "composing from scratch" episodes so that we have a closer look to how you achieve the overall sound of your amazing pieces :) Keep it up and thanks for sharing
Great work, Ryan 👏 As usual 👍
Amazing work as always sir! Have been enjoying all of these walk throughs. Gotta get my hands on Hollywood Orchestrator now...makes it too easy!
Get that!!!!! The sounds are 🔥🔥🔥🔥🔥🔥
Wow, that was such a great watch, so glad I subscribed to all this way to create such wonderful music, having so much fun
After 3 years plus going with EWQL, it's undeniably to say the least that this plugin requires you to be super creative with sound design. I suppose I could say we have so many other plugin companies, whom, shall not be named, that come up with newer libraries every now and then that sound completely "big" and "spectacular" on trailers or demos (keyword being). That is, if your creativity is only limited to presets.
But the real deal, is what you make out of them.
By far, EWQL has almost EVERYTHING you need. The libraries are totally vast, too immense to the point that you'd discover something new every now and then over something you installed over 6 months ago. You can literally create ANY music with it.
Fantastic. Love your work
forbidden planet is so god damn cool man! I love this vst so much!
I was having trouble, getting stuck. I need to figure out the other pages on the Opus. You made Gold in the DAW today; Thank You for breaking down the Alchemy.
great stuff thank you 🙏
I liked your tremolo fx in the percussion , exactly one of my latest go to techniques in the last month. I discovered this after looking for an equivalent for Kontakt random panning of the factory library.
Thank You, Ryan! Great and cool!
Great! Ilove the tension that goes through the piece.
This looks amazing!!!!
Love it! LOVED!
Sounds incredible!
They really nailed it!
Thanks so much Ryan and EW for that Tuto. Brilliant demonstration. I have a couple of questions:
- How are you dealing with negative delays from Orchestrator vs Opus shorts vs Forbidden planet? Everything sounds so well aligned. I could not find values in the documentation.
- Any fancy mixing EQ stuff to get that sound ?
I am asking since I am trying to produce a similar type of hybrid track with your tools and as usual it does not sound the same (most part is proably my orchestration I know!)
Anyway thanks again !
Hi Stephane! To answer your questions, I don't really do much with track delays for a few reasons, suffice it to say I just listen to see what needs adjusting and it only takes a few seconds to drag the MIDI +/- a few clicks. So I'm afraid I don't have anything terribly useful for you there other than "trust your ears" lol.
And yes, there's some mixing going on of course. If you've seen some of the previous videos, I cover some of the mix techniques I like to use (reverb, delays, etc.) but there's nothing extensive happening that can't be done without stock Logic/DAW plugins. Just some EQ, compression, and a bit of saturation. That's about it.
Hope that helps!
Anyone else find this type of orchestration especially challenging in that there's no melody or recurring motif to it at all. But rather it includes a series of build ups and climaxes. I wonder how musical decisions are made with no motif--or at least none I can hear.
I would argue that the "melody" here is really the sound design in a way. The main focal point is the dialogue and sound effects of designers.
Awesome!
Super 💥💫💫
Wow that is really good stuff, to me it is simple amazing 😃 thank you so much
💥💣🔊
orchestra and analog synth.... this should be good
Where can I find the video footage you used? I want to take a crack at this. 😊
We made it
Is the "3 Terabyte" with the products on it..
Are they compressed and need to be expanded? If so, is there enough room on the drive to expand them there or do you need to move them to your computer's SSD?
With forbidden planet I noticed every sample is in the same pitch. Is the idea to use the transpose contorl if we need to change pitch? Are there complete keyboard instruments with traditional pitch or is the whole instrument a series of texture patches in one pitch? I'm trying to figure out how to work with this more consistently.
From which game is this? is it released?
Anyone know what size MIDI keyboard he uses?