Jurassic Park String Tutorial

[@seanfourie7]

Hi Anne, im a composer living and working in South Africa, I just recently discovered your channel and as a media composer your channel has to be one of the best out there .Thank you for sharing

[@AnneKathrinDernComposer]

That's so sweet of you to say! I'm glad my videos are helpful. :-)

[@kurttomlinsoncompositions1067]

I haven't heard a mock-up of this theme that has that consistent flow that this has. Unreal.

[@KrystofDreamJourney]

17:34 into the video. Also 19:41 into the video. Absolute Essentials for a succesful virtual orchestration. Thanks Anne-Kathrin. As always : gold for all students.

[@vicbrass]

Hi Anne, I just bumped into this one tutorial who happens to be your first one, what can I say, such a fantastic decision to make up this channel... I'd invite for a good dinner to whom suggested or encouraged you to start it off. I am sure many pros take a lot of it, and for amateurs like me it is just so full of valuable content and true pieces of advice. We cannot thank you enough. Wish you find the time and return of value to continue with the channel... may the inspiration stay with you! Besten Dank, Victor

[@AnneKathrinDernComposer]

Thank you so much for your kind words! It sure is fun to have this channel on the side - it doesn't make for the most consistent upload schedule but it keeps me productive during downtime. It has already grown way beyond what I ever thought it would be so that's exciting. Let's see where I can take it further.

[@kappabravomusic2101]

I'm glad you've included a bit of psychoacoustics into your advice. Many people have 0 clues about that part of audio. Very interesting that you and few other people recommend to use 2 separate reverbs. Gonna give that a try. Also wanted to mention, that your channel actually give plenty of great advice with actual knowledge behind orchestration. I've learned many new things watching your work and content. Also your mockup was outstanding imho.

[@mikemcgibney]

Just working my way through your excellent back catalogue - brilliant and helpful video as usual. Thanks Anne!

[@Ahmad-Mounir44]

Best tips in KZbin! Period. Guess what! From now on, I am not going to buy any new library this year. I really have to spend time studying my exiting ones and educate myself in Kontakt enough to tweak things that I don't like in library and make it work for me. There are composers who just stick with very few instruments, know them inside-out and tweak them differently to sound a bit unique in every project. Knowledge is the real magic not the number of your libraries. Come on! Well done, Ann!

[@AnneKathrinDernComposer]

Thank you so much! And yes, if there’s a takeaway from my videos it really should be to try and get to know your tools first, tweak them, makes them work for you, and then go from there. Too many people believe that next library is going to solve all their problems when they already have all the tools they need.

[@Ahmad-Mounir44]

@@AnneKathrinDernComposer Thanks Ann! You're such an inspiration :)

[@dmitriiliukhin1757]

Fantastic work!! . In 3 hours? Wow. Amazing. Thank you for great tutorial.

[@AnneKathrinDernComposer]

Thanks for watching!

[@bookstuart]

Danke Anne-Kathrin! This was an excellent tutorial thank you! You explain things very well and give the background to the why and how. You have covered some of the aspects of using filters that I was having problems with. I will check out your other videos and will get back to you. Composing, orchestration and production are three aspects of making music each with their own disciplines and expertise. You are mastering all three. Also knowing how tools are made allows one to optimise their use. All the best Stay safe Brian

[@AnneKathrinDernComposer]

Thank you so much for your kind words! This first video I made is certainly overstuffed with information so I'm actually planning to make separate videos on the different hardware, software, and workflow to go into more depth. Really glad you're finding these helpful! :-)

[@jeremiahlyleseditor437]

Great Video. you explained some of the troubles that I am having with the libraries. Even the expensive ones have similar artifacts during sound reproduction but this video shows a way around this issue. Thank you

[@Auddictaudio]

Another really great video, a lot of people will find the info in this video very helpful!

[@AnneKathrinDernComposer]

I hope so! This was my first video on this channel over a year ago. I intend to make a few better ones with mockups as well.

[@matrixate]

Fantastic information. Spot on tips!

[@AnneKathrinDernComposer]

Thank you!

[@alfid94pianomusic]

You are very good, congratulations for the tutorials, for the channel and above all for your work. You explain very simply complex things making them seem easy and natural and this shows your great level of expertise in the field. Obviously you deserve a much wider following, but I think there will be no lack of opportunity. P.S. The Lord of the Rings Mockups and other pieces every time I am impressed by the level of sound and quality, very good indeed.I hope to be able to do something decent one day too, maybe thanks to your videos something will be able to come out one day.

[@AnneKathrinDernComposer]

So glad you're finding my videos useful!

[@ivansabata4378]

Amazing. Thankyou for yours videos.

[@AnneKathrinDernComposer]

Thank you for watching!

[@Beelzybud]

I was just going for the messy school orchestra sound, so thanks for that tip!

[@BryanELx]

Great tutorial. Thanks! I learned a lot today. Good luck with your channel!

[@AnneKathrinDernComposer]

Glad to hear that! Thanks for watching!

[@mrmostlyharmless]

It’s so good of you to share all this great work!

[@Eliazer]

How do you get the different CSS legato transitions to line up with the grid. I understand that you use negative track delays but it doesn't appear that you have a different track for each legato transition...or do you? Thanks

[@eds5709]

Great tutorial Anne! Very interesting to watch your approach en the results. I only wish I had known this before I'd released my version of this piece. Stay safe and have fun composing ;-)

[@sykromsmile6303]

Very useful and beautiful tutorial, thanks so much

[@benjaminalaridmusic8184]

Fantastic Walkthrough. Thank you for being generous with your time and knowledge! :)

[@AnneKathrinDernComposer]

Absolutely, my pleasure! I'm glad this was helpful!

[@justifyed1911]

Great video, thank you for your transparency, your gifts and talents! I'm a new fan!

[@AnneKathrinDernComposer]

Thank you, that’s so kind! Glad you like it!

[@tosvus]

Fantastic Tutorial!!!

[@AnneKathrinDernComposer]

Thank you! Can't believe this was my first video over a year ago...

[@tosvus]

@@AnneKathrinDernComposer Incredible first try then! I found your Sample library videos first and promptly subscribed! Then I searched you up on Spotify and am listening to your music. Beautiful!

[@AnneKathrinDernComposer]

I appreciate the support!

[@ChristineHals]

Thank you Anne! This is really great! Def gonna check out the Ozone now! Looking forward to your next tutorial. 💕❄️✨

[@AnneKathrinDernComposer]

Thanks for watching! And yes, highly recommend Ozone!

[@officialnoslenj]

Ok Anne-Kathrin, I am new to all of this and I am going to take your advise. Two things- 1) which is the most efficient way to learn the backend of Kontakt? 2.) you mentioned something about negative delays. I understand what you were saying as to why it is necessary. I don’t understand how to identify when it need to be fixed and how it’s actually fixed.

[@AnneKathrinDernComposer]

Thanks for watching! To answer your questions: 1) It comes with a manual so reading that would probably be step number 1. Then you can also watch tutorials on KZbin, I'm sure there are some. And then you can also just duplicate a patch from any library that is unlocked and just go play around with it, see what happens. 2) Almost every library needs this fix but especially when layering different libraries. I'll get into this more when I do my template walkthrough since this is a more involved topic than the comment section would allow - and even then I'd probably do a terrible job explaining it without images.

[@gumhkawngla3612]

I play four instruments well in guitar band, now I learn key board piano in a little beyond intermediate level and fastly progressing, so I wish to know the knowledge of the string and orchestra like synthesizer back up sections in Bee gee songs like "How Deep is Your Love" and 'too much heaven' if some music teachers have any advice idea, please, shed some light on me, I'd be appreciated. Thank you.

[@juliancroot]

Very nice job on this. I use East West stuff and the control isn't great. I'll often blend in some synthesised patches to get a specific dynamic, and I find as long as they're mixed sensitively the results are ok.

[@markgerazzi9073]

Do you ever use divisi for violins 1a and 1b, or violins 2a and 1b, violas, cellos, etc? I'm wondering if that's over kill and when it's usually used, maybe for smaller orchestras? Thanks!

[@pjdahmen]

Beautiful

[@AnneKathrinDernComposer]

Thank you!

[@allenmuirhead4240]

Nothing wonky about this Anne! Great for an ex-guitarist/double bass player learning the ropes in all of this sampling stuff. Where do you go for sheet music?

[@AnneKathrinDernComposer]

I'm glad this is helpful! I usually use IMSLP for sheet music. Whatever isn't on there, I buy from music publishers.

[@NurbolatBalginbayev]

You have very nice voice!!!

[@AnneKathrinDernComposer]

Thank you!

[@tonyswatchchannel755]

Love it!

[@davidsprivate5609]

That was very very interesting.

[@corachung405]

This is GOLD! Thank you SO MUCH!

[@AnneKathrinDernComposer]

Thanks for watching! Glad this is helpful :-)

[@1000buffalos]

You are teaching me things I never even considered! The negative delay issue is one. Hopefully this won't sound like a completely hairball question--just to clarify, do I attempt to match the negative delay values from one library with another? Should that be consistent across all sections of the orchestra? By the way, thank you for your generosity with your time. These videos are quite a gift.

[@AnneKathrinDernComposer]

So glad this is helpful! And yes, you want all of your libraries and sections to line up with the click, otherwise it'll sound very sloppy when you try to blend them. The human ear is able to detect 2 different signals at around 15ms and most libraries have a much higher delay on them.

[@bobcarwell9172]

Where specifically can one find the exact score utilized in making this mockup ? In Hal Leonard all I see is arrangements for bands, brass, etc. Many thanks for these videos ! First class and very generous !

[@johndelozier2491]

It should be a JW Signature Edition from Hal Leonard (the big blue books)

[@bobcarwell9172]

@@johndelozier2491 Tnx John. But the only JW Signature Editions (big blue books) appear to be full orchestrations as I noted in my original post (and are all $400 and up !!!!). Am I missing something ? Where

[@MarkMcMillanMusic]

"How did you do this...!?!?" - you - " I'll show you" :D

[@AnneKathrinDernComposer]

Hahaha, well I tried... :-)

[@MarkMcMillanMusic]

@@AnneKathrinDernComposer truly beautiful. Well done 👍

[@metalgeartac8186]

This is really great stuff. Is the FB group only for people assisting others? Because I would really like to take a back seat and just learn.

[@AnneKathrinDernComposer]

Thanks for watching! You can join the FB group for general learning purposes as well. You don't need to be an assistant. Occasionally the focus will just be on assistant related stuff but overall there is still a ton of great general information there.

[@sureshpspd4094]

Thanks, this video very useful 💯

[@TimSFischer]

Wow, the marcato-legato layering is super inspiring Anne. Never thought of using CSS like that tbh! And you did something with CSS what I thought is only possible with Cubase Expression maps. Can you tell me how and where you managed to customize the Kontakt scripts of CSS to control the Shorts in combination with the Marcatos with the Modwheel and without using expression maps? Would be super helpful, I feel Cinesamples playability vibes there. :-) Best from Cologne! Tim

[@AnneKathrinDernComposer]

Yes, marcato-legato layering trick goes way back to the time when split out patches were the norm (not like the full articulation patches we have available now). Some libraries also have that feature built in these days. You can't customize Kontakt scripts of commercial sample libraries. Even when the backend isn't locked (as it is with CSS), the script itself will be locked. The shorts are setup like this by default in CSS if I remember correctly. CS2 and CSSS is also set up that way so all I did was adjust CineStrings Solo to that same setup on the mapping page.

[@TimSFischer]

​@@AnneKathrinDernComposer Ah so you just used the dynamic shorts patches of CSS for layering then? I think misunderstoof you then. CSS does indeed have a separate Marcato articulation that's not part of the dynamic shorts feature (which is spicc-staccatissimo-stacc and sfz if I remember correctly) and thought you'd found a way to combine those two different patches with just the use of CC1. Thanks for the insight and keep up that good work of yours. Your videos are top notch! ;-)

[@martinbacker7677]

Thanks so much, this is most helpful once more!!

[@AnneKathrinDernComposer]

Glad this was helpful! It's so strange looking back at this very first video from a year ago. More to come soon!

[@MarkMcMillanMusic]

i have been literally agonising over recording this for years i have NEVER gotten near the feel you have captured here with vsts etc

[@AnneKathrinDernComposer]

To be fair, this one was particularly hard due to the constant tenuto lines which requires a ton of layering. :-)

[@MarkMcMillanMusic]

@@AnneKathrinDernComposer right!? It's like... The more Human the performance, the harder it is. I'm working on a workflow right now combining miroslav orchestral Refills with the Hollywood strings vst from EWQL that if I only could stop having freeze issues whenever I load up a vst heavy project, would blow your mind. The realism+ ease of playability the strings have is Truly awesome. But I'm refining it so it's not too resource intensive. If anyone is interested I'll make a video with the results... proper Boston pops type sound... Just so nice.. I'm getting to the stage where I'm making long and short legatos switchable per string instrument, with switchable Marc/spiccato and switchable pizz and col legno

[@kalemale3191]

MEEEEEEHR! :-) Lieben Dank für deine wertvollen Tipps und Videos! :) Ich bin trotz meines „erhöhten Alters“ (27) kurz davor den Vorkurs für Filmmusik an der Musicube zu machen und deine Videos sind eine wahnsinnige Bereicherung :). Wie waren dort deine Erfahrungen? Liebe Grüße und auf viele weitere Erfolge deinerseits, Basti

[@stevegeorge7773]

Would you do a video on sound libraries. Discuss the ones that you know about. As you mentioned you picked ones that is suitable to your style. For others with other styles it might be good to get your views on other libraries available. Thank you for this great video. It was very very interesting and useful!

[@els1f]

I couldn't figure out at first what a "Jurassic Park String Mock-up" was or why KZbin would be telling me to check out a crafting tutorial🤦‍♂️🤣 I clicked it and was like "OMG RIGHT!"

[@stevemartinalmonds]

may I ask at 3.36 when you are talking about string libraries, there's some really nice background music. Can you tell me what it is? Thanks, Steve :-)

[@AnneKathrinDernComposer]

It’s some random thing I wrote years ago. I don’t think I ever published it.

[@stevemartinalmonds]

@@AnneKathrinDernComposer I love it! I was captivated by it! I really wanted to hear the rest of it. It's beautiful and even though it was quiet, I found it very inspirational. I love how the piano just came in, flowing gently over the rest of the other parts. :-)

[@САКАРТВЕЛО-и5ф]

Hi exusme me, what programm is better? cubase or FL studio? Your reccomandation?

[@alanhuico]

Thank you for sharing!!!

[@AnneKathrinDernComposer]

Thanks for watching!

[@sebastienharvengt1093]

around 5:30 you're talking about track delay to streamline the tracks from different libraries, is there a particular method for that ? if there is could you do a Tuto ? :-) I wish developpers give that info directly... thanks anyway

[@AnneKathrinDernComposer]

A lot of developers do give that info directly, either in their walkthroughs or in their manuals. For those that don't you can also see it in the Kontakt backend or simply use your ears to hear how much delay there is between the sample playback and the click. Or do an audio bounce and measure it, that works too.

[@DennisCaunce]

can you share the Valhalla preset? I don't see it on my install...

[@black_shark3312]

I wish I had discovered your channel a year ago while I was still at uni. I had a composition module and I was obsessively trying to use divisi patches for my assignments to get a realistic sound and it just sounded like crap. I also wasted a lot of valuable time on expression maps that just didn't work at all (I think I was using EW Hollywood Orchestra). Seeing your approach would've been a massive timesaver...

[@maxhillsmusic9890]

Loads of great tips, thanks a lot for sharing this! Do you eq each individual articulation or send all the articulations of each instrument to one eq? eg all the violin 1 articulations to one eq.

[@AnneKathrinDernComposer]

In my DAW it all goes through the same EQ but in VEP I sometimes pre-EQ some libraries or articulations when needed.

[@maxhillsmusic9890]

@@AnneKathrinDernComposer excellent, thanks!

[@paulackerman2800]

Thank you Anne for your Tutorial+mixing TIPS ! CSS is your favorite library, do you have tested afflatus I ? for me CSS is very well scripted but Afflatus has a good script as well with a better clear sound. I often mix the twice ! I hope you will make other tutorial ... Have a nice day!

[@AnneKathrinDernComposer]

Thanks for watching! Glad you like it! I haven't checked out Afflatus yet though I'm also not really in need of yet another string library to be honest. I mix CSS, Cinematic Strings 2, and 2 solo libraries. I have 5 more in my archives if I really need more strings but that's not really ever the case.

[@Dandiel_]

So awesome thank you so much! Quick question? How do you find out the milisec delay amount? I have most of those libraries, and CSS are the only ones who have the milisec delay amount on their website.

[@AnneKathrinDernComposer]

Some library developers put it into their manuals or onto their websites as you've mentioned. But for everything else, I simply program a melody line or ostinato into a MIDI region, turn on the click, and use my ears while playing it on a loop. I increase the negative delay by 10ms until I feel like the notes actually land on the click. It's a bit of work for this many tracks but at the end of the day you only do it once and save it in your template. Thanks for watching!

[@Dandiel_]

@@AnneKathrinDernComposer Yeah I was doing stuff like that with ear as well. Hoping to find a results from a manual or something. Anyways thank you so much again!

[@AnneKathrinDernComposer]

Your ears will always be your best friend when doing mockups and when mixing. :-) For what it's worth most values will be between -40ms and -80ms, strings can go a bit higher to -100ms (or up to -200ms but that's rare).

[@NagyArmin]

Great video! 👌 Could you please share the MIDI files?🙏

[@ho-lingtang7501]

Thanks for the tips! Another great tutorial 💕 What do you do when you have to program string runs (maybe something like the violin line in Harry Potter and the Philosopher's Stone)? I've been using CSS and CS but still haven't found a way to make it sound convincing enough

[@AnneKathrinDernComposer]

Thank you for watching! String Runs are always a tricky thing. The best way to do them with CSS and CS is to layer a lot of articulations on top of each other. With CS I remember runs working really well by using the tremolo patches on top of soft marcatos and trills. If you then also layer in CSS with the velocity all the way up, possibly not overlapping the notes to not trigger actual legatos (but I'd play around with that) and then also some medium short notes from CSS, then you should get a nice slurry run. It becomes even better when you softly layer in woodwinds as well to give it an extra texture. But you're right, it's one of the hardest things to do and it takes a lot of finessing. The easiest way would be to program them as best as you can and to then get a player to play over it a few times. Something that also gives runs a lot of realism is layering in a solo strings library as well.

[@ho-lingtang7501]

@@AnneKathrinDernComposer Wow thanks for the very detailed explanation! Can't wait to see more of your tutorials. If you can do a tutorial about runs, that'd be really awesome. :)

[@hbranch5243]

I really enjoy your videos and they are extremely helpful. thank you very much. I'm curious to know if you use both velocity crossfade and expression especially when you program pieces like this. I'm still not sure about point of using expression if vel crossfade can also control the volume as well as the timbre.

[@AnneKathrinDernComposer]

Yes I use both. One is a velocity control and one is a volume control so they don’t do the same thing.

[@hbranch5243]

@@AnneKathrinDernComposer Thank you for replying! I sometimes think drawing expression is not as important as drawing velocity crossfade but maybe I need to experiment more. Looking forward to your next video!

[@AnneKathrinDernComposer]

I’d say it depends on the library how effective or important the different parameters are. But in any case, even with velocity crossfade you’d still need to do volume balancing in the mix by using either CC7 or CC11. You’d also do this when mixing a live orchestra.

[@hbranch5243]

@@AnneKathrinDernComposer That's what confuses me the most. If you just want to do volume balancing wouldn't you just use the volume fader in your mixer? or is there any advantage of controlling the volume with CC11? Although in some libraries even if you set CC1(velocity crossfade) value to 0 it still doesn't fade completely, in that case it makes sense to use CC11 to adjust the overall volume.

[@AnneKathrinDernComposer]

You can theoretically use the faders too if your template is set up that way. But then how do you control global volumes? Say at the end of the cue you notice all your strings are too soft. But now you’ve automated all the faders in the mix window. That would kind of be a pain to adjust. So that’s why I’m using CCs for volume automation and the faders for global volumes.

[@rossoconnor4]

Amazing job!! Have you tried holding down the sustain pedal for the notes you need retriggered? It’s supposed to rebow the note

[@AnneKathrinDernComposer]

In which library? I'm using 4 at the same time as you can see so I doubt this would work for all of them if it works at all. But as far as I know in my patches the sustain pedal is set up to actually sustain the notes.

[@rossoconnor4]

Anne-Kathrin Dern Sorry! It’s CSS that should be reprogrammed to rebow a note when you hold down the sustain pedal. I only recently purchased it, so I’m genuinely asking if you’ve tried it (as opposed to framing my statement in the form of a question “Jeopardy” style). Thanks for your reply!

[@AnneKathrinDernComposer]

Ah I see! I haven’t tried it but it would also be pointless for my workflow since it would mess with the other libraries I’m using where it functions as a normal sustain. But if it works and it’s the only library you’re using it might be useful. Though for tenutos it may not work, since it’s more than just rebowing a note, but rather a different articulation altogether. I’ll definitely try it out to see how it works though. Thanks for your input!

[@rossoconnor4]

Anne-Kathrin Dern That makes sense. Last question and then I will leave you alone. Do you play all of the short articulations in or do you just copy the legato tracks?

[@AnneKathrinDernComposer]

It depends. If I’m layering to get tenutos I just copy paste and then modify to blend and playback well. But in any other case I work in the shorts separately.

[@TimBoulette]

Where do you find the sheet music for this?

[@ScoringStageEu]

kannst Du ein Video zu parallel compression empfehlen?

[@AnneKathrinDernComposer]

I thought this video explains it the best in Cubase: kzbin.info/www/bejne/qaW5q4SOpLtrga8 There are similar videos on how to do it in Logic (which is is easier to set up for parallel compression due to its different routing). I haven't checked out DP and PT but I'm sure there are videos for that as well.

[@emilyfmusic]

I just wanted to say thank you so much for making all of these beautiful tutorials! I’ve been following for a few months now and they’ve been so helpful. I apologize if you’ve already done it, but I was wondering if you have an overview of the all of the equipment and libraries you use. I’m totally new to the MIDI world, and I’m so grateful for these videos as I try to get all caught up. Also, congrats on Fearless! :)

[@AnneKathrinDernComposer]

Thank you so much for your kind words! I'm so glad you find these videos helpful. Once I'm done with my current movie score at the end of the month, I'll be sure to create more content for this channel. I've had many requests for a walk-through of my hardware and my template but I think your suggestion might actually warrant a separate video on sample libraries. Thank you for that idea! I shall make it a 3-part series I think: The Hardware, The Template, and The Libraries. I'll get right to it after my next recording sessions in 10 days :-)

[@emilyfmusic]

Anne-Kathrin Dern I love it, and I can’t wait! Best wishes on your current project!

[@ДмитрийШубинский-в7ч]

Thank you for the video! A question about quotas. Many people write directly from the midi keyboard. They say it's more realistic this way. Many people draw with the mouse and then use the humanizer. How do you do it? Does this make a lot of sense, because each library has its own dynamics, and they do not fall into the grid by themselves?

[@AnneKathrinDernComposer]

The answer to these questions is in my latest video.

[@ДмитрийШубинский-в7ч]

@@AnneKathrinDernComposer The answer to these questions is in my latest video.

[@Zhazha2009]

@@ДмитрийШубинский-в7ч Шубинский, ни ответа ни привета. Но мокап звучит ужаснейше

[@dfizzbom]

Thanks so much for the tips in this video! I always watch your content. You have a great channel! You inspired me to try my own mock up of this, only a full version. Insanely hard! Your tips helped though! My attempt - kzbin.info/www/bejne/goW0mqmZnMaVq80 Thanks again, Anne!

[@mphonie7324]

Und nun noch einmal auf Deutsch. Das wäre herrlich für einen alten Mann :) Ansonsten - super Video. Vielen Dank dafür !

[@AnneKathrinDernComposer]

Ich kann meine Videos leider nicht zweisprachig aufnehmen, allerdings werde ich sicherlich irgendwann deutsche Untertitel hinzufuegen, damit es fuer die Heimat ein bisschen einfacher wird. :-)

[@mphonie7324]

Dafür wäre ich sehr dankbar. Im Moment sitze ich hier mit dem Translator und bastel mir alles zusammen :)

[@AnneKathrinDernComposer]

Ach herrje, so viel Aufwand! Ich hoffe, die Infos sind dann wenigstens hilfreich! Wenn etwas unklar ist, gerne fragen. :-)

[@mphonie7324]

@@AnneKathrinDernComposer Ja Frau Dern, ich möchte nachfragen, ob die oben genannte Gruppe auch für Anfänger geeignet ist, oder ob sich da nur Profis tummeln.

[@AnneKathrinDernComposer]

Ja, die Gruppe ist definitiv fuer Anfaenger geeignet, wenn nicht sogar dafuer geschaffen. Sie wird von ein paar ehemaligen Assistenten geleitet und ist speziell fuer Studenten und Berufsanfaenger, die gerne mehr lernen wollen oder spaeter auch Assistenten sein wollen.

[@pblais404]

awesome video... you are right about east west. but now we have Opus.. "play" has gone "bye bye"