The Cue Tube https://thecuetube.com/ FOR THE COMPOSERS Wed, 31 May 2023 12:41:22 +0000 en-GB hourly 1 https://wordpress.org/?v=6.4.3 https://thecuetube.com/wp-content/uploads/2023/06/cropped-CT-2-1-32x32.png The Cue Tube https://thecuetube.com/ 32 32 Interview with Ziv Kitaro https://thecuetube.com/interview-with-ziv-kitaro https://thecuetube.com/interview-with-ziv-kitaro#respond Thu, 02 Mar 2023 14:29:04 +0000 https://thecuetube.com/?p=464 Interview with Ziv Kitaro | Director of Product Management and Business Development at Whaleapp We met up with Ziv Kitaro, Director of Product Management and Business Development at Israel-based game developer Whaleapp, to find out more about the gaming industry and about music for games. We gathered a few insights along the way as to... Read more »

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Interview with Ziv Kitaro | Director of Product Management and Business Development at Whaleapp

We met up with Ziv Kitaro, Director of Product Management and Business Development at Israel-based game developer Whaleapp, to find out more about the gaming industry and about music for games. We gathered a few insights along the way as to how best to approach establishing yourself in the industry..here’s a sneak preview of the interview. Full podcast of the interview coming soon. Subscribe so you don’t miss new episodes.

Industry overview

I think it’s important to understand the structure of the gaming industry.
So first of all there are the AAA studios…With that part we’re talking about very high quality, very complex games. We’re talking about tens of millions of dollars going into production. If you come in fresh out of the pond, so to say, it isn’t likely that you’ll be able to get yourself into those AAA games.
After that you have the mid ground – high production value, short games, something that will cost a couple of million. Usually those medium kind of studios will work with some external composers and an orchestra, depending on what type of music they’re looking for.
And below them I’ll put what we call today the mobile game industry. And while you look at the amount of money and the amount of people that mobile games are touching, it’s a huge percent. And you have various degrees of companies from huge companies like King, to small indie studios. So the variety here is huge. But more importantly, unless you’re talking very level…you’ll probably have a better chance of getting started in the industry if you go with mobile.
When you start with mobile, you start with a very small company and very specific kind of experience which you want to create. If you can prove yourself there, if you can give the audience the kind of experience in that genre, you’ll learn a lot of tools that can be used when you go up to the higher echelon.

“When you start with mobile, you’ll learn a lot of tools that can be used when you go up to the higher echelon.”

Do you think it’s necessary that the composer is a gamer?

In general I would say no, not necessarily. It’s more important that the composer has experience or love for the genre.
…you have a lot of restrictions on mobile so you need to be creative. And it also opens up a lot of opportunities right because you need to find out like how can i create that kind of theme that kind of feeling when all i have is not only that it has to be short! I also have to deal with the fact that maybe people are listening on their headphones but maybe they’re not and as good as the speakers. For any mobile phone, these are not premium. You don’t have the bass at the very least, right, but still you have to create music that sounds good on those. And that’s maybe the more important thing than being a gamer understanding the technology, understanding where your music is going to be played. It’s as important as understanding the genre. And you know you ask also like what are other things that composers might need to understand… uh game engines are something that you should dig into. There aren’t many of them so again you go to mobile. That’s another reason to start there because it’s easy, you’ll have three engines.

“It’s more important that the composer has experience or love for the genre.”

When you understand the engine and you understand limitations and you really understand how to work with that, it gives you an edge because I get a lot of emails – I’ll say two at least every month from composers – asking you know I’m looking to to do a project and some of them also write in the email you know I’ve worked with unity, so when someone writes to me and tells me you know I’m a composer and I already worked with unity, I’ll put them in the folder of people to to get back to.

“When you understand the engine and you understand limitations and you really understand how to work with that, it gives you an edge…”

We’ll share the full interview soon on our podcast series, which you can hear on our Google, Spotify and Apple Podcast channels. Subscribe so you don’t miss new episodes. 

Interviewed by Bryan Waters
Edited by Yelyzaveta Dembovska
May 2021


Footnotes from Ziv:

1. My breakdown of the industry was very rudimentary. My focus was mainly on the commercial aspects. We didn’t touch the whole indie part of the industry which like mobile would be a good place for composers to jump in. I think it’s a good point to add and remember.
2. I forgot to mention Game jams. These are (usually) 1-2 days events where people create games and fame like experiences with focus on creativity and not polishing a product. It’s a good place to offer your talent and get into games.


Whaleapp is a global company with over 500 professionals worldwide, committed to taking the game industry to the next level. From casual to mid-core games, their team is devoted to crafting compelling content that can cater to any player’s needs, and heart’s desire. Their portfolio of mobile games consists of a variety of genres.

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Archie’s Diary | Episode Seven https://thecuetube.com/archies-diary-episode-seven https://thecuetube.com/archies-diary-episode-seven#respond Thu, 02 Mar 2023 14:16:17 +0000 https://thecuetube.com/?p=448 Episode Seven of our series, Archie’s Diary – the life of a young composer, is now available for viewing on our YouTube channel. In this episode, Archie presents and talks us through a lovely demonstration track that he has created for the new Kontakt library from 344 Audio – Victorian Pump Organ. Archie approaches the track as a demonstration of how the wonderful... Read more »

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Episode Seven of our series, Archie’s Diary – the life of a young composer, is now available for viewing on our YouTube channel.

In this episode, Archie presents and talks us through a lovely demonstration track that he has created for the new Kontakt library from 344 Audio – Victorian Pump Organ.

Archie approaches the track as a demonstration of how the wonderful and varied sounds in the library can be combined with other instruments to form a unique-sounding ‘bed’ for other instruments.

We hope you enjoy this demonstration of some of the potential of this awesome library!  Let us know what you think and if you create anything with this library – we’d love to hear your ideas of how to use it.

Let us know if you have any questions or topics you’d like us to discuss in a future episode. Tell us about YOUR journey with music!

Archie’s website – https://archiejennings.com/

Archie’s Diary is brought to you exclusively by The Cue Tube – where music meets film.

The Cue Tube is a great place to meet other musicians for collaboration.

The Cue Tube is a free-to-use community of composers and filmmakers with great resources for learning, networking and building a portfolio and career, including a library of unscored videos, fully legal, with sound design included, for use in your portfolio on The Cue Tube.

We have resources for Sound Design at https://sounddesign.thecuetube.com/


Please Support The Cue Tube on Patreon or PayPal – your support makes a difference and helps us provide more quality content for those interested in film composing, sound design and filmmaking.

Huge thanks to our supporters for their generosity and support.

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PRESS RELEASE https://thecuetube.com/press-release https://thecuetube.com/press-release#respond Thu, 13 Jan 2022 09:26:17 +0000 https://thecuetube.com/?p=603 Global Music Charity In Place Of War Partners with Score Relief 2022 London, 13 January 2022 – In Place Of War has been named official charity partner to the Score Relief 2022 international film scoring competition. In Place Of War, the global organisation that uses creativity, especially music, to bring positive change and provide a... Read more »

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Global Music Charity In Place Of War Partners with Score Relief 2022

London, 13 January 2022 – In Place Of War has been named official charity partner to the Score Relief
2022 international film scoring competition.
In Place Of War, the global organisation that uses creativity, especially music, to bring positive change
and provide a voice to marginalised communities in areas of conflict in 26 countries, has been announced
as official charity partner for this year’s Score Relief film scoring competition. Described as, “the
composing contest with a heart”, Score Relief was founded in 2020 by The Cue Tube, a UK-based global
community for composers for film, TV and gaming.
Score Relief is a free-to-enter scoring contest, open to composers worldwide, offering a choice of two
engaging visual content clips for which composers can create music. Judges include Oscar-winning
composer Mychael Danna. The winning composer will have their score performed and recorded by
Northern Film Orchestra. This year’s competition also includes a prize pool worth more than $35,000,
thanks to the generosity of more than 21 music industry partners including Native Instruments, Orchestral
Tools, Spitfire Audio and others. Composers will also have the chance to win money-can’t-buy
opportunities, such as a one-to-one feedback session with Carlos Rafael Rivera, Emmy and SCL winning
composer of scores including the huge Netflix hit, The Queen’s Gambit.
The competition is also used to shine a light on Score Relief’s crowdfunder, which this year will support In
Place of War through voluntary donations by competition entrants and those in the industry supporting the
cause. Funds raised will support the charity’s #HackMusic music education program, offering mentoring
and education to artists across the Global South on developing their craft, making a living from music and
hacking the music industry. Last year’s competition raised more than $15,000 in donations, which
organisers hope to smash with the 2022 edition.

In Place Of War CEO and Creative Director, Ruth Daniel, says, “We’re so happy to be partnering with
Score Relief 2022. Giving composers worldwide the amazing opportunity of having their score recorded
by a prestigious film orchestra is so aligned with our #HackMusic program, opening up access to the
music industry to artists across the Global South. So it’s completely fitting that the Score Relief
crowdfunder will support that initiative.”
Score Relief and The Cue Tube Founder, Bryan Waters, says, “I’m really excited to be partnering with
In Place Of War this year, not just as a charity partner, but opening the door to potential artistic
collaboration between our community and those supported by their work. Huge thanks to our sponsors
and judges, making Score Relief 2022 what it is. Good luck to all participants and thank you for your
generosity in supporting our fundraiser!”
Entries to Score Relief 2022 are now being accepted until January 31st. Entry is free and open to all
composers and aspiring composers worldwide. Full details and Entry Pack can be found on The Cue
Tube website.

Download this press release here.

Notes To Editors
About In Place Of War – a global organisation, In Place of War is registered as a charity in the UK and a 501c3
non-profit in the US, that uses artistic creativity in places of conflict as a tool for positive change. The charity enables
a network of more than 130 grassroots change-makers in music, theatre and across the arts, to transform cultures of
violence and suffering into hope, opportunity and freedom in 26 countries.
UK Registered Charity No 1182594 USA 501c3 No 83-3944469
About The Cue Tube – a UK-based global community of more than 7000 composers for film, TV and gaming and for
anyone interested in finding composers for projects. The platform provides resources such as education, unscored
videos to use, networking channels, competitions and more for composers. Almost all of its core resources are free to
use.

Media Contact for all interview, asset & information requests:
Emma Bartholomew emma@inplaceofwar.net Tel: 07833 306 312

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The making of NFO: Orchestral Swells https://thecuetube.com/the-making-of-nfo-orchestral-swells https://thecuetube.com/the-making-of-nfo-orchestral-swells#respond Thu, 02 Sep 2021 09:42:25 +0000 https://thecuetube.com/?p=407 Podcast Episode NFO:ORCHESTRAL SWELLS We have a brand new episode on our podcast and it’s a cracker! Archie Jennings and Bryan Waters sat down, remotely of course, with Jack Hughes, founder of Northern Film Orchestra, and Dan Keen – composer, YouTuber and sample library producer – to discuss their new NFO:ORCHESTRAL SWELLS library that was recently released FOR FREE on Pianobook. We... Read more »

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Podcast Episode

NFO:ORCHESTRAL SWELLS

We have a brand new episode on our podcast and it’s a cracker!

Archie Jennings and Bryan Waters sat down, remotely of course, with Jack Hughes, founder of Northern Film Orchestra, and Dan Keen – composer, YouTuber and sample library producer – to discuss their new NFO:ORCHESTRAL SWELLS library that was recently released FOR FREE on Pianobook.

We discussed the origin and process of the project, the nature of the library from a sonic and creative point of view.


Archie’s Demo of NFO:ORCHESTRAL SWELLS

Archie shared his experience of using the library to create a demo track which you can hear here:


Designing the GUI

During the discussion Jack shared some of the thoughts and process behind the GUI design and referenced the two designs shown here:

 


Listen to Episode Five of our podcast now


There’s more to come

The episode is just the first part of our chat, focussed on the library. Part Two will come soon with a wider ranging discussion of sample libraries, trends in music and the orchestra’s story. So come back to hear that soon!

You can listen to the podcast, including all our other episodes, on these platforms: Apple, Google & Spotify.


The Cue Tube is a free global community of composers, sound designers and filmmakers with resources for networking, learning and showcasing your talent.  If you’d like to support us in creating more great content, we’d be very grateful and you can do so via both PayPal and Patreon

Stay tuned for more great news and resources coming soon.  Follow us on social media to stay updated.

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Interview with Borys Oliinyk https://thecuetube.com/interview-with-borys-oliinyk https://thecuetube.com/interview-with-borys-oliinyk#respond Wed, 28 Jul 2021 14:19:20 +0000 https://thecuetube.com/?p=350 Interview with Borys Oliinyk | Director of Audio Department at Plarium We spoke with Borys Oliinyk, the Director of the Audio Department at the game development company Plarium, about the approaches his company and other companies take to find or create music for their games. Tell us a bit about how Plarium works with music... Read more »

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Interview with Borys Oliinyk | Director of Audio Department at Plarium

We spoke with Borys Oliinyk, the Director of the Audio Department at the game development company Plarium, about the approaches his company and other companies take to find or create music for their games.

Tell us a bit about how Plarium works with music for games.

It depends. For the sake of convenience, I would divide our work into two parallel processes. The first one is game production, and the other one is marketing. They are both really important.
Our department supports all marketing and almost all game projects of Plarium, with tasks coming from eight studios in the USA, Israel, Ukraine, and Russia. Writing music is only part of our work: we’re also involved in audio design, implementing sounds into our games, mixing, and recording voices.

So, how do you go about creating music for marketing?

Due to the peculiarities of the advertising market, we need to produce as much content as we can. Supporting several game projects with commercials and trailers means that audio production speed really matters. Sometimes, we have only two days to finish everything! Usually, we use resources like Audio Jungle. This is the most powerful service in terms of the number of tracks you can find. Вut due to the great number of composers on this service and trends with certain music styles, sometimes it’s not so easy to find a track that sounds unique and fits the timing in a video.

“[For marketing]…Increasingly, game development companies are using stock audio libraries because of the production speed.”

Recently, we subscribed to Artlist.io: if I’m not mistaken, they work with individual composers and companies. That is, they sell SFX and music through subscriptions. It’s convenient, the license covers everything, so you can use this music freely on YouTube or any other platforms. On the other hand, with Audio Jungle, we need to consider where and how we’re going to use these tracks, and buy a license for each one of them.
Increasingly, game development companies are using stock audio libraries because of the production speed. There are lots of companies that create videos, but some of them don’t even have their own audio guy – just a video guy who picks the music and does basic editing. It’s definitely not enough for producing a video that should evoke an emotional response. That’s why services like Audio Jungle are very popular nowadays.

What’s your general approach to music for your projects?

It depends on the project. Sometimes, we may use stock audio platforms if there is a small feature that needs to be supported with music. But, for example, if we buy a track at Audio Jungle, and some Twitch* streamer goes live and shows our game, they might get banned because of licensing issues. There are known cases in the industry when big AAA projects went live (were broadcast on Twitch), and their channel got banned as a result.

“There are known cases in the industry when big AAA projects went live (were broadcast on Twitch), and their channel got banned as a result.”

When it comes to projects with an extensive storyline, you need voice acting and many hours of music, so it’s best to work with a composer. This way, companies can always use their music anywhere, without worrying about getting banned on streaming platforms.
We compose music in-house, but we’d also like to collaborate with external composers in the future. Maybe, with composers and musical bands, we could record our compositions live.

Please tell us in more detail: at what stage do you join the development process, and how do you know exactly what should be produced?

We join the development process at the very beginning of a new project. It’s necessary for us to dive into the game’s storyline, understand the gameplay and its dynamics, and be able to present the game’s world using the tools at our disposal.
Perceiving music simply as background sounds is a waste of time. We try to define the function of music. Just imagine: a Game Producer gives you a task: “When wandering around the main castle in the game, players must hear an epic track”. You provide the resulting track, but the Game Producer rejects it, saying: “Too epic!”.
In order to understand better what your colleague (who’s not a musician) means, you should ask them a lot of questions. To start with, you may ask the following: “Okay, what should players do in this castle? Why should they go there in the first place?”.
Having learned from the Game Producer that “players upgrade there: they improve skills and look for better gear”, you should clarify the following: “What emotions are players expected to feel when they’re at this location?”.
Having figured out that it’s about player progress, make sure to go even deeper: “Should players feel excitement in this case?”.
But even having received an affirmative response, you may assume the following: “Perhaps what really matters is not excitement, but rather concentration on this part of the game. They will think: how exactly should they upgrade to win the next battle?”.
Ultimately, you and your Game Producer will come to the conclusion that epicness and excitement are not really necessary in this particular case. What you need is an inconspicuous track that helps players think, isn’t distracting, and creates a slight feeling of tension before the battle.
In this way, we interpret the language of the development team into the language of music.

How do you find the direction in which you write soundtracks for your games?

Using in-game sounds, we always strive to liven up the game’s world and its story. If you enter the game and keep hearing the same thing all the time, then you get bored quickly, you turn off the sound, thus literally cutting out half of what you’re meant to perceive. In my opinion, players should play with the sound on not just because we created it. To do that, we collaborate with our gaming community to understand what they want.
Again, the ability to ask questions plays a major role here. We’re interested in their perception of the game’s universe, what they feel when playing, what emotions they experience being at a particular location. If our expectations don’t match the feedback from the audience, we change the approach and start anew, so that the initial idea is conveyed as accurately as possible.
When writing music, we don’t only ask the development team questions, but also ourselves. We try to understand what players are doing on their device before they play the game, and what they will do afterwards. At what volume do they watch, for example, YouTube? To find this out, we ask our friends or colleagues in the office to show us the volume setting on their mobile devices.
There’s a loudness war in mobile games and ads nowadays; everyone’s trying to shout louder than their competitor. Instead, we try to create the audio in such a way that you can hear accents. At certain points we give players an auditory rest, and at other times we use sound to draw their attention to crucial gameplay moments.
A while back, a player from one of our casual titles sent us an email asking for an animation sound of a specific character there. He said that this sound made him happy, and he wanted to use it as a ringtone. Such feedback is better than any analytics; it’s the highest accolade for our team.

Do you use adaptive music in your games? Why is it that composers prefer it?

Game music is very different from film music. Music composed for movies is a ‘linear’ thing. But when it comes to games, writing music is one process, whereas implementing and adapting it to in-game events is another. Music is often written in layers that turn on and off depending on events in the game.
When you watch a movie, you know that a character will open a chest at a predefined time. In a game, a player can open a chest whenever they want; thus, we compose music in such a way that the transition from the “chest is closed” state to the “chest was opened” state feels natural at any given point in time – that’s why we call the music “adaptive”.
As far as I know, composers tend to prefer projects with adaptive music, because they have an obvious advantage over conventional projects with linear music. There’s an amazing YouTube video describing how the music for The Witcher 3: Wild Hunt was created using horizontal and vertical approaches. The game has nonlinear accompaniment.
The cool thing is that you can adjust the music to the gameplay and make it react to any events you want. Ultimately, the music becomes sort of a construction set with a life of its own, which you can manipulate using specific tools. We can freely shift accents, adapt to different game states, and come up with a vast array of accompaniment options that are not so time-restricted as in linear music. If the game designers decide to change something in-game, our music is able to adapt to that change.
Sometimes, we can’t even say where and when the music will change – we need to play the game to find out! So, adaptive music is a very unique and exciting phenomenon in game development.
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How can rookie composers improve their skills and start working with game development companies?

There’s a great way to hone your skills. First off, choose a commercial or gameplay trailer you like, remove the audio from it, and recreate the audio yourself. If your task is to get familiar with the tools, try repeating the audio precisely, because this way you’ll get to know how it all works and improve your aural memory. Alternatively, if you want to develop your creative thinking, try improving the audio and creating something absolutely new.
I receive 3-5 emails a week from composers showing their portfolio. Many of them are professional and interesting composers. But I know firsthand that it’s really hard to get anyone interested in your work, given the competition on the market nowadays. One thing that may help you get a job on a project is to take a close look at the company’s products.

“I receive 3-5 emails a week from composers showing their portfolio… One thing that may help you get a job on a project is to take a close look at the company’s products.”

From my freelancing experience, I know how it works in practice. I created an account on Audio Jungle, offered my works for sale, and searched for customers who would actually buy my music. If they did, I sent them emails saying: “You’ve just bought my composition at Audio Jungle, so you might need some help with mixing or other audio stuff. I can definitely help you – just show me your products!” Sometimes, I took a video from their website, remade the music, and sent it to them, saying: “That’s why you need me!” That’s how I got jobs back in the day. You need to know how to find customers and ‘drop the bait’, so to speak!
Now, let’s imagine that you are a game developer. You have a game that was released a year ago and another you are currently working on. The former already has music, and you’ve probably already hired a composer for the latter. If you get an offer from another composer now, would you choose to work with them? My guess is this: if they show you something special, you would. The thing I call ‘special’ is the attitude towards the product. Take an existing company’s game and try to make the music better, find a fresh sound or approach, think of what to improve, and create a demo showing how the game may feel if you worked with that composer.
In my case, I tend to look holistically at all of the company’s products, including ads. We want people to know that we really care about the audio. That’s why we play our games for hours to figure out if there is something we can improve. I think this attitude can be helpful for any rookie composer.

 

*Twitch is a live streaming platform popular with gamers

Interviewed by Bryan Waters
Edited by Yelyzaveta Dembovska

July 2021

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NFO: Orchestral swells https://thecuetube.com/nfo-orchestral-swells https://thecuetube.com/nfo-orchestral-swells#respond Mon, 28 Jun 2021 14:45:31 +0000 https://thecuetube.com/?p=361 Orchestral Swells | NFO & Dan Keen Our friends at Northern Film Orchestra, who we had teamed up with previously on our Score Relief competition, have joined forces with another friend of ours Dan Keen and produced an amazing sound library which is FREE.  The library, NFO:Orchestral Swells, is available for both Kontakt and DecentSampler and can be downloaded from Pianobook. Archie and I caught up... Read more »

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Orchestral Swells | NFO & Dan Keen

pianobook.co.uk

Our friends at Northern Film Orchestra, who we had teamed up with previously on our Score Relief competition, have joined forces with another friend of ours Dan Keen and produced an amazing sound library which is FREE.  The library, NFO:Orchestral Swells, is available for both Kontakt and DecentSampler and can be downloaded from Pianobook.

Archie and I caught up with Jack Hughes from the orchestra and Dan and asked them about the library.  We’ll share the interview in full soon in our podcast, and Archie will share an amazing demo track that he’s created using the library, but here are a few highlights of what they said:

● JH – When I started the orchestra, I had in my head that I’d love to do a sample library of some sort but I didn’t want to just jump in and do any old thing.  Then I remember discovering Dan’s Soft String Spurs and thinking he’d be the right man to ask.

●  JH – A lot of it was relying on what the musicians are willing to do.  Luckily everyone had very clear schedules because of the lockdown and they’re all quite eager to get involved in doing stuff so I just put the the request out to see who’d be interested and people came back and offered up lots of generous recordings.

● JH – It was like taking the kind of Stoller Hall NFO aesthetic and then applying it to samples that everyone could get their hands on if they couldn’t afford to record that.

● JH – I feel like in a way we’ve got quite a warm almost a golden age Hollywood sound where it’s very natural.  I wouldn’t say it’s too cinematically done and too overproduced if you know what I mean.  I think a lot of that is in in my mixing style as well.  The library itself felt really kind of intimate and I really loved that it was so sweet just such a gorgeous sound.

●  DK – We were really surprised by how people were willing to kind of experiment with techniques of their own and maybe they’d try all of that stuff with mutes or they’d try further up the fingerboard or in different positions.  I think it was the flautist who gave us 13 round robins!

●  DK – We were chatting a little while back weren’t we about how actually getting players to perform samples is very different from getting them to perform a piece and while it is kind of one note recorded at a time, you almost have to simplify the performance.  When you start layering these notes on top of each other, you don’t have space for so much nuance that every note is a little bit distracting or jarring.  When you’ve got multiple dynamic layers and you’ve got this sort of blend that you’re applying through the mod wheel, it can get quite complicated quite quickly if every player is trying to make each note sound really otherworldly, so it does take a lot of adaptation.

●  DK – Whenever I work with players for samples, I always say just play slower than you think.  If you’re swelling up to something or you’re applying a bit of vibrato it somehow works better if you can really feel it progressing.

●  JH – I think we were lucky as well.  One of the brass players, so husband and wife duo, and they did trombone, trumpet and euphonium and they had some ribbon mics which I think added a nice detail to it.

●  JH – For a lot of people their exposure to orchestral instruments is through sample libraries so you don’t want to put a paywall through that.  In fact I had someone message me today saying that their 15-year-old son is just starting composing and they’re in and out of their pockets all the time buying Cubase and everything, but they love that our thing was free and they’re asking for the download link so I suppose things like that are nice.  That’s what you want to hear.

●  JH – I guess between us, Labs and the free version of BBCSO, it’s a pretty decent palette you can get, considering when I started it was literally like Logic standard strings then the Kontakt Player ones that it came with.  That string one for me was what I used for ages.  You know I remember the first time I bought a string library that had mod wheel expression I was like – oh my god, that’s it I’m a real composer now!

Check our podcast soon for the full interview and let us know if you create anything with the library.

Interviewed by Bryan Waters
Edited by Yelyzaveta Dembovska

June 2021

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