Mockup Walkthrough 1/3 - Anduril (from "Lord of the Rings")

[@renecaron6409]

Good to see someone demolish the myth that every part must be played, as opposed to simply adjusting the expression and other values.

[@AnneKathrinDernComposer]

Glad this was helpful!

[@AlexSonicsMusic]

Thank you for sharing. I'm inspired not only by your creativity but also by your generosity and kindness❤ flame of the west coast *raises sword

[@MasenkoAudio]

The string section sound was fantastic with those layers. If I tried that, I'd be able to cook breakfast on my CPU

[@GuSan1982]

Hahahaha

[@frankD.baere-orchestralmockups]

I heat my house with my computers! LOL :)

[@jackaguirre8576]

This is my favorite comment

[@EliottTordo_Erhu]

Insane work ! Great job

[@AnneKathrinDernComposer]

Thank you!

[@taidee]

I'm not in music creation, I'm a technologist though and I'm just fascinated by the technicality of this work and am in awe of what you guys do to deliver that emotion into the motion picture. I absolutely love and feel privileged to be given access to this by Anne who already operates at this level of this art form, thank you AKD 🙏🏼

[@edgenovese]

You are gift to composers. Patience, a calm and soft spoken tone, a complete joy to learn from. I was thinking, perhaps you could gather in an order, a complete course, using your videos. From beginning to where you are now. (I'm sure it would be a BIG seller) I'd buy it without question. I tried to take a course at a Community College and the teacher was so insulting to me, I never returned. I am and remain a real Fan of yours. Although I'm older now, I have a young composers heart and so I appreciate your inspiration to go on. PS. Love your writing... Ed G

[@DirettoIZM]

Beautiful sounding mock-up! I marvel at your efficiency. It really emphasizes the importance of a great template and having familiarity with it. Thanks for sharing your knowledge.

[@AnneKathrinDernComposer]

Thank you! I'm glad this was helpful! And indeed, templates are everything when scoring a movie or TV show since one would have to get through more than twice the amount of music showcased in this video - plus the additional writing / sketching time added. Even with a proper template and maximum efficiency, we're still looking at an average 12 hour work day to get the necessary amount of music done.

[@AlexPfeffer]

that little rest after "everything is quantized!" ... priceless!!! :D

[@AnneKathrinDernComposer]

Gotta leave time for people to gasp in shock... ;-P

[@John-ip7qo]

This was so helpful. Never thought I'd be learning Orchestral layering from a pro. Thank you so much!

[@AnneKathrinDernComposer]

Thank you for watching! I'm happy to hear you got something out of it!

[@xavijim]

Sounds spectacular, and we are lucky to be able to enjoy and learn always from your videos.

[@AnneKathrinDernComposer]

Thank you!

[@Highcastle_of_Geek]

I've been woefully remiss in not exploring my VSTs further, but your example gives so much insight into adding life to these samples and making them sound like they were played by musicians. This is probably one of the most valuable lessons I've learned about using virtual instruments

[@MarsenK1]

So generous, to share this with us Anne-Kathrin. Keep up the great work, and all the best to you.

[@AnneKathrinDernComposer]

My pleasure! Next videos are already recorded and will be up soon!

[@annakokkonen5156]

Thank you Anne-Kathrin, for such a thorough mock-up session video!

[@AnneKathrinDernComposer]

My pleasure! Glad you liked it!

[@laurieknapp5264]

As someone just starting out, Im very happy to have discovered your channel! It amazes me that you’re able to create this mock up and it sounds nearly as complete and appealing as the original! Do you have a score you’re reading from, or did you just program all the parts by ear?

[@oldGnRrocks1]

impressive either way

[@gonzalozubillaga9341]

So many doubts solved, very musical and simple solutions!

[@nRGmusicproduction]

Wonderful job. Very informative video. I love especially how you showed a pretty non-standard approach to handle CC1 and CC11. Just by looking at them you would think "neee, it will sound bad".... Yet they sound gorgeous. It shows again that ear is the best indicator ever and actually the only one we should pay attention to.

[@AnneKathrinDernComposer]

If there is one takeaway here, it truly should be “Follow your ears, not what other ppl say or what seems logical on paper”.

[@nRGmusicproduction]

@@AnneKathrinDernComposer so accurate!

[@petersvan7880]

Awesome tutorial, thank you Anne-Kathrin!

[@AnneKathrinDernComposer]

Thanks for watching!

[@alainberthe1329]

Very interesting and useful insight into this part of your job. And you're doing a great job at sharing your experience in this very behind the scenes part of the music production for films.

[@AnneKathrinDernComposer]

Thank you!

[@charlesyateschalfant]

You are such a gifted composer, and have extraordinary talents when it comes to mock-ups. The videos you provide are greatly appreciated too. I hope you have a wonderful year.

[@AnneKathrinDernComposer]

Thank you! So glad you liked it.

[@caseyfulton6932]

So many great tips with doubling and using Expression for the crescendos/ decrescendos instead of Modulation. Mixing solo strings with large string sections adds a lot of depth.

[@perttutarvainenp-tunes6924]

"This can´t get any better", I think. And I surpized every time as I open your videos:D. You are the best! Thank you!

[@AnneKathrinDernComposer]

Wow, thank you! Glad you like my content!

[@tristanishtar8906]

Absolutely brilliant and incredibly instructive and helpful. I can't believe you did that in 2 hours. I would be lucky if I could do that in 2 weeks, but such is the gap in skill level! Thank you so much for doing these videos.

[@AnneKathrinDernComposer]

So glad you found this helpful! The speed really comes with practice.

[@austinsmithcomposer]

Super interesting! Thanks for making these mock up videos, You've given me some ideas for improving my own mockups.

[@AnneKathrinDernComposer]

Glad to hear that!

[@SamuelLeTonqueze]

Thank you very much Anne-Kathrin for sharing these videos. It's very generous of you to detail each stages of building a mockup. It is precious. I am currently in the making of a mockup only with Cinematic Studio Series. I started, like you, from the imported original track, then tempo track and I just finished the Strings sections. I hope I could share with you the result soon. Looking forward to your next videos.

[@edmasters4454]

Thanks for sharing! Great walkthrough and helpful to see how you approach something like this.

[@AnneKathrinDernComposer]

Thanks for watching!

[@TonyThomas10000]

Two hours. Wow! You work very quickly and efficiently!

[@gonzalozubillaga9341]

Great work!!! Loved both your lectures and pristine mockups!!!!

[@jazzdude7014]

instant like, Anne-Kathrin! You do a great job here.

[@AnneKathrinDernComposer]

Thank you!

[@sheenawenger-birrittella2156]

Thank you so much for your amazing videos! Would you mind telling me how you copy and paste CC1 info to CC11, or vice versa? I work in Logic, but am hoping maybe you could help me. I can't find that info anywhere! Thank you.

[@earthlightsmusic2743]

As an amateur I'm playing around with BBCSO Discover from Spitfire Audio, orchestrating songs and tunes I wrote years ago, and I find your presentation a lot of fun to observe. I'm tempted to buy a bigger computer and some libraries so I can work on every detail the way you did here.

[@mathieuassama]

la maquette et juste magnifique good job 👍 I Loved

[@CplcDesbiens]

You are a great teacher. You have great ideas. Easy to understand tips and explanations. Wow I'm happy I found your channel. Good job! :-)

[@AnneKathrinDernComposer]

So happy you found my channel too!

[@thefreeloved]

Fantastic work Anne-Kathrin really informative

[@AnneKathrinDernComposer]

Thank you!

[@PauloRuvalcaba]

Great tutorial! Learning a lot from your channel. Thank you for sharing your knowledge!

[@AnneKathrinDernComposer]

Glad it was helpful!

[@LucasPosoli]

This video is pure gold, thank you very much! 🙏🏻

[@AnneKathrinDernComposer]

Glad you enjoyed it!

[@sourcefor]

Thank you for sharing your knowledge!

[@AnneKathrinDernComposer]

Gladly! Thanks for watching!

[@lordapophis93]

That was one seriously convincing mock up! I couldn't tell the difference to be honest. Just goes to show with some proper programming and understanding of timbre you can really sell it!

[@AnneKathrinDernComposer]

Thank you, that means a lot!

[@AlvinSWongMusic]

Wonderfully organized and clear, Anne. Great video!

[@AnneKathrinDernComposer]

Thank you!

[@SOUNTH11composingdesign]

Excellent, thank you for sharing.

[@AnneKathrinDernComposer]

Thank you for watching! Loving your content as well!

[@fourier27]

This is an amazing walkthrough, you have a very patient, pedagogical approach to it which is so helpful. I see you’re using 1 and 4 horns for CSB, does this work similar to using CSS and CSSS? I’m also curious if you alter CC2 for vibrato on strings, flutes etc. for added realism? Layering patches/libraries is something I think few have talked in such detail about - do you have to deal with any build up of certain frequencies when layering so many patches? Thank you for doing this, looking forward to the next two excerpts :-)

[@AnneKathrinDernComposer]

Thank you so much for the kind words! I'm really glad this was helpful! Yes, CSB works pretty much like CSS and CSSS. I think it's one of the main selling points for Cinematic Studio Series - all libraries are very consistent in sound and programming and play very well among each other as well as with other libraries. I don't do much to CC2, I leave it at one pre-determined value to avoid too much phasing. There will always be frequency buildups, even if you just use one library, since the room is stacked upon itself with each patch you add. So you'll have to EQ buildups no matter what. If you layer libraries, you'll just have to EQ the sum of them (at least I find that more useful than individual EQs per library but that might work as well).

[@JakobTreml]

Sehr interessant! Bin gespannt auf die weiteren Teile! :)

[@AnneKathrinDernComposer]

Danke! Die Videos sind schon aufgenommen, also muss ich nur noch ins Editing rein :-)

[@JakobTreml]

@@AnneKathrinDernComposer Dann aber schnell :P

[@JohannesRiedlMusic]

This is so amazing to watch :) Such a beautiful orchestration

[@stevemartinalmonds]

The sound is amazing that you've achieved in every orchestral section. It's just so easy to follow your presentation. Thank you for taking the time to show how it's done. :-)

[@AnneKathrinDernComposer]

Thanks for watching! I'm glad you found this helpful and easy to follow.

[@rsmanikeys]

Its fantastic… but as you said everything is quantised, how did you manage the delay times in cinematic studio strings, specially legatos

[@peterreynolds8146]

Thank you, Bravo! Love this! Please do more!!

[@AnneKathrinDernComposer]

Absolutely, two more coming for now! But I'll try to do these a bit more often.

[@peterreynolds8146]

Gr8. Whenever you have time. Please don’t burn yourself out & do too much. It’s worth the wait.

[@anthonystahl]

Came across your channel and i'm so glad I subscribed. This is invaluable!!

[@AnneKathrinDernComposer]

Welcome aboard! So happy to hear that this is helpful!

[@paulc3037]

Inspiring stuff Anne-Kathrin!

[@AnneKathrinDernComposer]

Thank you!

[@dboudah1]

That was amazing! Thank you for doing this. You are brilliant!

[@sotosonic413]

Great mockup and explanation, thank you!

[@AnneKathrinDernComposer]

Thank you! So happy this was useful!

[@klaudialustig3259]

Watched all of this, looking forward to part 2

[@AnneKathrinDernComposer]

Glad you liked it!

[@CyrilBellem]

Another great video, thank you so much! Can't wait to watch the second part :-)

[@AnneKathrinDernComposer]

Coming soon! Thanks for watching!

[@matthiaspflueger]

Sehr interessant und sehr schön. 👍🏼🎵

[@crevalation2691]

Great video! Just discovered this gem. I am a little confused about using CSS series’ variable delay in their legato patches, if we quantize everything to the grid with one value only, doesn’t that result in some notes playing before or after the grid? I suppose it is not obvious when we are using just CSS, but will be timing difference will be noticeable when layering with other libraries.

[@MoodScores7538]

Excellent mock-up.

[@OliKember]

Love this! So great to see how you make a mockup and the CC choices throughout. Plus, great hearing the constituent parts of one of my favourite scores. Cool necklace too btw! Thanks for sharing. :)

[@AnneKathrinDernComposer]

Glad it was helpful!

[@lorerecru]

And how do you know what have to play each instrument? I mean, I can't distinguish all of the instruments to replicate them then by myself. Or maybe you have the music sheet. I don't know if I explain it correctly (and sorry for my English 😅) Btw this is so fricking cool and incredible. Fantastic

[@johnfraserlongley]

Thanks for this. Fantastic.

[@AnneKathrinDernComposer]

My pleasure!

[@gavinleepermusic]

Thank you for the great video, Anne-Kathrin! I need all the help I can get on mockups these days, and your videos are really helping! You might consider a bit more desser on your dialogue in future videos. The siblance made me need to turn the volume down, and that made the rest of the dialogue a bit more difficult to hear.

[@thomasw5915]

Thank you so much for sharing, very helpful!

[@AnneKathrinDernComposer]

Glad you liked it!

[@paololuvie8755]

Hi Anne , Great music and great tutorial , thanks for sharing this !! Glad you also like John Williams music 😀

[@Wayne_Robinson]

The examples were instructive and the collection of different libraries yielded a nice sound. Hearing each library's parts in isolation gave a great sense of their individual qualities. Although as a person for whom music is a non-commercial pursuit, it's a bit frustrating to think that achieving a reasonably convincing orchestral section would require more than a few different libraries. In practical terms it must be said that the true limitation now is my composing and arranging skills (or lack thereof) rather than not having a rich collection of libraries.

[@AnneKathrinDernComposer]

I’m glad you found this helpful!

[@noahdtaylormusic]

I read the title of this video fast - thought you had one mock-up but were splitting the walk-through into 3 parts. This would be very fitting considering the movie the music comes from. Love the channel!

[@AnneKathrinDernComposer]

Ha, I thought about that too. But I do indeed have three mockups to share :-)

[@richdewhittaker1746]

I always learn great things from you, thanks so much! ☕️🎶✨

[@AnneKathrinDernComposer]

So glad to hear that!

[@cachelesssociety5187]

This is extremely helpful. I recently picked up the Cinematic Studio Series (except Cinematic Solo Strings, Cinematic Strings 2, which I'll probably get). I have a visual impairment and guys that nudge things way off the beat cause me to grow cross-eyed, but you seem to function better than anyone just using negative track delay! Did you cover your negative delay settings per artic. somewhere in one of your rundowns?

[@cjp68]

Thank you Anne for sharing this mock up. I have always wanted to try to do this but had no idea where to start? The work from the old movie “Glory”, scored by James Horner, really moves me. I never would have thought of programming CC 1 & 11 in the manner that you just demonstrated. I am always trying to improve my skills, so thank you for more knowledge and inspiration.

[@mirzaaljic]

[@AnneKathrinDernComposer]

My pleasure!

[@JoaoMarcosSilva_didiostudio]

Excelente, Anne! Você ajuda muito os músicos brasileiros! Thanks for you job.

[@yuyaoshangguan2159]

I like your every video. Definitely gold mine.

[@AnneKathrinDernComposer]

Thank you so much!

[@gepson]

amazing video, it is very useful, i will try those beautiful layering especially in string libraries. I have a question: how to make those perfect CC11 automation curves in Cubase? I have Cubase 10.5 but I'm not able to do it, is it a new feature in Cubase 11? You have a really nice and quiet tone of voice, I can understand every single word even if my English is not so good.

[@AnneKathrinDernComposer]

Thanks for watching! It's indeed a new feature of Cubase 11. I have an entire video about the Cubase 11 update if you're interested.

[@gepson]

@@AnneKathrinDernComposer I just saw the video about Cubase 11, very useful as always, I think that this new feature in the CC automations is worth the upgrade because I spend a lot of time sculpting those curves. Mrs Dern, can i give you a link to some of my compositions? A feedback from you would be much appreciated. I know you are very busy, but if you have some time, it would be an honour for me to have any kind of suggestions from you, thanks a lot.

[@nashmultimedia2642]

great content, thanks for sharing !

[@AnneKathrinDernComposer]

Thanks for watching!

[@danymalsound]

Your work is lovely! Also, see you're using Sennheiser HD650's. How do you like them? I'm about to invest in either those or Ollo s4x's (I'm predominantly a mix engineer). Cheers!

[@janneckchristiansen2778]

Where do you find the score! I’ve been searching everywhere, and I always end up with some kind of af a reduced score…🤔

[@brianthompson4480]

Anne, I liked your mockup better than the original!

[@MrTugwit]

Fascinating :)

[@edwardpatrickwhite6679]

Thanks for sharing Anne. Very cool. The takeaways that I hear lacking in lots of orchestral mockups, are that MIDI CC curves for brass and woods are different from strings. Strings tend to benefit from more rounded curves where brass and winds tend to benefit more from more of a traditional ADSR shape. The James Newton Howard brass MIDI cc shape! But we often hear them programmed the same - with rounded curves - and often this is due to copy paste! If time is of the essence, fair play - but I always like to address this where possible. And for woods/ brass - phrasing based on breathing! Which is not to say that you cannot have continuous woodwind ostinati, for example, (which don’t offer immediate opportunities for breathing) but that can be achieved by alternately sharing overlapping parts between two flutes, for example. This means that this kind of part would never, in actuality, have two flutes playing in unison and may also require some reinforcement from oboes/clarinets etc doing the same thing. For doublings, I also try to ensure that the tessitura matches the golden part of a given instrument’s range. In some cases, copy/paste means we don’t even fall within the instrument range. In terms of layering samples, I’m not a big fan of that. I tend to curate the sounds very carefully and the most appropriate sample for the passage tends to win out. If I do need to steal “body” or “air” from another sample instrument I will commit it to audio and then substractively EQ out the parts of the sound that I don’t want then balancing in the ones that I do. In this way I can add the desirable part without also adding a load of mud. I’d also make the observation that woodwinds are often subsumed by brass in reality. Have a tutti brass section play fortissimo and you’re not going to hear the woods playing with clarity. You will feel them perhaps and mistake bassoons for horns etc. but in terms of hearing them for what they are, probably not. You can stripe the orchestra or course but this is an expensive way to record a score. So it’s something to keep in mind when mocking up because I often hear woodwind balanced with brass and strings in a way that immediately screams mock up and makes the thing feel very synthetic. Ultimately though, lots of things we can do to really make the sampled orchestra sound photo real require a “hunt and peck” experimental approach to sample curation balanced with orchestrational intent, detailed mixing and time spent programming. When you’re flying by the seat of your pants on a film / tv show / commercial or video game - there often isn’t time for that.

[@rbingraham]

Very nice, thank you for sharing this

[@AnneKathrinDernComposer]

Thank you for watching!

[@sorartificial]

Lovely 💐

[@KevinKuschel]

This was fantastic, thank you so much!

[@AnneKathrinDernComposer]

Thank you for watching!

[@dougsomers3429]

Another excellent and informative video Anne. You do us all a great service for which I’m particularly grateful. Question: I’ve looked for the LOTR score to be published but haven’t seen it yet. You mentioned a score you worked from - what was it? Thanks again!

[@AnneKathrinDernComposer]

I got my scores purchased through my studies at UCLA but a quick Google search shows plenty of publications and arrangements.

[@dougsomers3429]

Thanks for your prompt reply Anne, and I apologize for not being more clear. I have seen other scores listed but not the full score from New Line and always wondered how complete or faithful they were to Shore’s original. In any event, you have kindly answered my question. Best wishes always!

[@diegosoldi9463]

Excellent video! By the way, how do you interpret dynamic markings written in the score when dealing with cc's like modulation or expression? Do you a specific range for each dynamic level (pp, p, mf, etc.) and for each library? Thank you so much!

[@AnneKathrinDernComposer]

Thanks for watching! I think it's about knowing your libraries inside out and how they react at different velocities. Plus at the end of the day dynamic markings are relative, not absolute, so however you start will determine the rest.

[@frankD.baere-orchestralmockups]

Hi Anne-Kathrin, I've been following your channel for some time now and it has to be said... your tips and explanations are worth their weight in gold! What I want to ask; can we buy the scores you use for these three pieces somewhere? Greetings

[@ccsccsccsccs]

Great job! Strings really are the hardest to sound realistic.

[@RudalPL]

Noobie here. :) If I may ask. Why do you mix different libraries? Like with the string section, you copied everything to 3(?) different string libraries, is it to get "fuller" sound?

[@NormanYoungMusic]

Always presented beautifully and clearly and informative as always. Just one small thing - you were absolutely right to stress the need to allow wind players to breath, but in this example I don't think you allowed the lower brass to breath - and they run out of breath even faster don't they?

[@wmsack]

Hi Anne, thanks for the wonderful video. I wonder, is there any different or benefit by using long and short midi tracks compare to multiple midi tracks in each articulations? I noticed that your mockup usually use long and short method; but is there any theory or in the matter of practical shown which is more efficiency or which is better? would like to hear your profession opinion. Thanks in advance. :)

[@altermoremusic]

Wow, its pretty much close! Thnx for your experience.

[@AnneKathrinDernComposer]

Thank you for watching!

[@olegloza]

Thank you Ann-Kathrin for the video! How do you program music with lots of rubato and rit... and rall... a tempo without actually playing it? Like the Belcanto stuff - Bellini, Donizetti? Thanks again for the tutorial!

[@AnneKathrinDernComposer]

I’m a film composer, not a classical composer. We don’t generally compose a lot without very specific tempo markings.

[@olegloza]

@@AnneKathrinDernComposer I understand. Thank you for responding! You have a great channel!

[@bluecollarstudio8513]

Incredible. Such a stellar job on a beautiful piece. Do you have any tutorials on how you do tempo maps?

[@felixhirtecomposer]

Very nice mockup! I was wondering how you deal with the different delay times of the legato modes of the Cinematic Studio Strings? It would be really cool to know how you get the timing consistency throughout the different libraries so that you can just copy a quantized part over to another track.

[@petersvan7880]

Indeed, also curious. Perhaps using only the fastest standard-legato would suffice?

[@chasefire-o1n]

@Felix Hirte @@petersvan7880 She mentioned in previous videos having multiple premade templates/multis with different velocities and predelay settings with CSS.

[@upasakmukherjee8986]

Wow! Thank you so much! Great video! :)

[@AnneKathrinDernComposer]

Thanks for watching! Glad you liked it!

[@yvanroustan4426]

Hello, thank you very much for this video ! Mock-up by pro composer ! Really instructive...

[@AnneKathrinDernComposer]

Thanks for watching! I'm glad you found this helpful!

[@mu6ix.musics]

Hi Anne, this is some of the best content on KZbin. Thanks for sharing. The sound you get from these instruments is magnificent. Do you use any plugins on the tracks and master?

[@AnneKathrinDernComposer]

Thank you so much! Yes, I'm using some processing in my template. If you watch my template videos, you should be able to see what's in there by default.

[@mu6ix.musics]

@@AnneKathrinDernComposer Hi Anne, thanks for replying. I’ll be sure to check them out.

[@CBPM_]

Great video, really appreciate the insight. Might be a silly question but are you mocking up from arranged sheet music or by ear from the original track? As a learning exercise I'm trying to mock up this piece by ear and am struggling to unpack the different voices/instruments in the busy sections. Am I being naive or do I just need to build up the ear/skill to do this??

[@VickenIshkhanian]

This video was great, I also do lots of mockups and listening to you coming from someone from the music industry is very helpful. Probably it is too much to ask to give your opinion on others' mockups!!? Thanks for the video, looking forward to part 2.

[@AnneKathrinDernComposer]

So glad this was helpful! I only review other people's mockups in educational settings, otherwise I really don't have the time.

[@baboom007]

Hey. Could you please help me decide between Beyerdynamic DT770 Pro 80 Ohm and Sennheiser HD 599? I will use the headphones for games and music on my Pc at home only. Which one is better?

[@jeffhijlkema]

Love your work Anne-Kathrin, really inspiring. The calming presentation does goed also. I don't usually double parts with other libraries, but this walkthrough triggered me to dive into that more. Think it would also be interesting to present how you get this realistic depth and spacing for both instrument(s) and the whole piece. By the way was it arteZ Enschede, the Netherlands? Be well, Jeff

[@vlj67]

That is really fantastic! Thank you. Can you recommend where I might be able to buy the transcription to the composition so I can try a mock-up of it? Thank you

[@kurttomlinsoncompositions1067]

Is Cinematic Strings 2 something you layer with CSS often? CSS is dark and I don't like boosting the high frequencies with an EQ because it sorta sounds weird.

[@AnneKathrinDernComposer]

Yes I layer them 100% of the time. FYI the key to brighten the sound is not to boost frequencies but rather to subtract the darkness.

[@mountainorchestra6254]

Please review Cinematic Woodwinds, and where does it rank in your rating of woodwinds?

[@NickHintonMusic]

Hi Anne-Kathrin, thank you for doing this and sharing it. Would you be able to describe the tone differences between CS2 and the newer CSS? Do you tend to do much to the mic positions to achieve these sounds or EQ? Thanks very much and lovely mockup btw! :)