@@francisdepuydt8234 pleasure, glad it’s helpful!

Great suggestion, will think about something like this!

@@Evenant Be great to see a course that combines modern production techniques alongside more traditional orchestration. Covering layering of sample libraries of the same instrument, e.g. multiple violin section sample libraries (which can give more custom sound, attack, bite, etc) or adding a solo violin (maybe also using live recordings). As well as exploring creative processing (saturation, eq, compression, reverb, etc) and processed foley sounds. Then also look at how that works with more orchestration principles like doubling with other orchestral and non-orchestral instruments i.e. synths. I have never seen a course that tackles both these areas, with most just covering orchestration from a traditional, classical context (often going too deep in my view rather than sticking to a 80/20 rule, avoid going into more niche areas). Yet I seem film scores often mixing these techniques depending on the scene.

@@Evenant superb! ❤️

Cheers Mark!

Like what? Be specific then.

@@trackhero2714 no phrasing in winds, no place for breaths, notes overlapping, not balanced, no divisi. If you listen to real orchestration you will instantly hear that this is amateur hour. If you want to add strings up an octave, you don't just double your string section size.

Oh yes - the mockup, balancing, mix, and orchestration is really poorly done in this example, no doubt. But that's because the idea stems from the creative exercise demonstrated in the last video where the intention even is to freely write within a limitation in just 30 minutes - WITHOUT worrying about orchestration, realism, mix, or anything else. I even encouraged attempting to make something bad on purpose to break out of creative blocks. Realism and orchestration comes later. If this were intended to be an even roughly finished orchestration, all your points would be spot on.

@@tonyr.4778 Two points I would make -- a) this is not an orchestration or production lesson, this is a quick tip about layering sounds with a speedwrite. and b) sometimes you dont have to be a purist, I mean this is a hybrid track, you don't always have to treat the orchestra like a 'real' instrument unless that is your goal. I agree if you are thinking from a traditional orchestration POV, but that is one limited perspective. Obviously that makes sense in an organic, orchestral setting, but thats not always the goal.

@@Maplefoxx-vl2ew got more exercises like this coming!

@@thisromeowasbleeding the string samples are a bit delayed, usually 80-120ms ish from the note plays, less for short articulations - more for long legatos. I’m adjusting track delay megatively so it compensates for this natural delay in the samples! You can hear this delay in the ostinato compared to the click before I adjust!

@@yeshuyesh5898 glad you like it!

@@brettclarinmusic glad to hear! Can’t recommend those synths enough though

@@Beagle36 cheers! I put a link in the description!

@@EminoMeneko pleasure!

So glad to hear, cheers!!

@@HJDog Komplete s61

@@Evenantthank you!

@@F4xP4s yes

I think it was just renamed!

@@Evenant Sous quel nom ?

Happy to hear that!

Very glad, cheers!

Nvm I had an issue with KZbin app. It got fixed 😃

Neither option is true

Stoked to hear, pleasure to help!

Thanks for the comment Zahari! Definitely the best way for me

Thank you!

😂

Thanks for the suggestion!

Really glad the videos help you feel inspired!!

Thank you, appreciate your comment!

Thank you I’ll make em available soon!

Thank you, glad to be back!