![]() Your KONTAKT library can be used as a great way to manipulate audio and create new and interesting string sounds. Manipulate strings in your KONTAKT library Everyone can buy the same sample libraries, but if you make your own it’s unique to you and creating your own KONTAKT strings library is not only an inspiring way to work but a great jumping off point for a cue.ĥ. The added benefit to creating your own samples is that when the time comes to write you can quickly call up a unique sound that no one else has. ![]() Sometimes, we’ll hire a violinist, manipulate the audio and put that in. I’ll talk more about this later, but if you’re not musically proficient, you can always hire a musician for an hour or two and get them to record some random stuff. I’ll basically sample these instruments, chop the sounds up and build new string sample patches to place into my library. Before every project I’ll buy some instruments, mess around with them and record loads of different types of melodic ideas, chords, textures or percussive rhythms that might be great within the world of the movie or show I’m working on. I use KONTAKT to host my strings sample library and the software’s become a big part of my workflow. Create your own string library in KONTAKT These decisions can be important when it comes to stemming as having a workflow figured out early on can make the laborious stemming process much more efficient.Ĥ. The other thing I’ll think about when building a string template for a project is what kind of plugins I want to include and how I want everything to be routed within the buses. The samples also allow you to re-orchestrate very quickly without having to do too much to fix the strings. One of the added benefits I’ve found using Cinematic Studio’s libraries is that you can copy a solo MIDI strings track onto a full string section and it’s scripted in a way that everything will play really well together. I spend a lot of time trying to program MIDI strings so it’s really important to find a library that you can quickly get realistic-sounding results with. Personally, I prefer to use Cinematic Studio Strings, but I might combine that with another library recorded at a different studio just to inject the sound of a different space into the music. Prepare your string sample librariesīefore any project begins, I’ll build a big template just to start thinking about what sounds I want to use. When I approach a string score in this way, I feel much more focused on the notes themselves and it makes it easier for me to conceptualize the piece and how it reacts to picture rather than going all-in on every little detail from the get go. The best thing for me to do is to just get the ideas out of my head and onto Logic. Doing that also means that if you’re going to make early changes you’re only changing piano notes rather than elements of a more complex orchestral arrangement. With the show’s wild yet beautiful landscapes requiring a highly symphonic, cinematic sound to match its sweeping scenery and character-driven storylines, Vivian is perfectly placed to offer his in-depth film composition knowledge on how to program realistic strings to add authenticity to your orchestral and string-based recordings.Ī while ago a friend of mine suggested something that completely changed my approach to creating realistic strings mock-ups, and that was to start with a piano sketch so you can really get to know the full entirety of a piece and where it’s going to go. ![]() The duo co-composed the 2019 American romantic drama Five Feet Apart before combining their talents to score Taylor Sheridan’s neo-Western drama Yellowstone and the almost entirely symphonic soundtrack to its 2021 prequel, 1883. Following his acceptance to the USC’s School of Cinematic Arts’ film scoring programme, Vivian boarded a plane to LA to work as an assistant to revered film composer Bryan Tyler ( Transformers: Prime, The Expendables trilogy, Iron Man 3, Avengers: Age of Ultron). Initially a guitarist for a hardcore punk band in Brighton, England, Breton Vivian’s love of composing took over in 2014.
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