Overwhelmed with Sample Libraries & Gear? Do This.

[@toddtyler]

I'd love to hear more on your story of discovering that you wanted to get into composing, a video going through that would be awesome! Thanks for everything you share - love your channel!

[@BaraMatahariPagi]

You deserve way more subscribers Tom!! These videos are really valuable, you have a new subscriber ;)

[@TomHawkComposer]

Thank you! I'm glad you're finding these videos valuable :)

[@kosisochukwuobiekwe1213]

I am a starting composer and from the beginning I always got virtual instruments that are free and whatever i thought was necessary for me at the time.

[@manuelcervera5692]

Completely agree. Great video Tom

[@TomHawkComposer]

Thanks Manuel, glad you found the video helpful.

[@ricgus3]

Great video! Can relate! Love Audio Imperia stuff! Subbed :)

[@TomHawkComposer]

Thanks! Hope you find my other videos useful :)

[@oscarrojasjr9984]

I really needed this, thank you. New sub :)

[@TomHawkComposer]

Thanks for watching Oscar, glad you found the video useful :)

[@andikasavana4539]

this is what happening to me right now. I'm stuck on some interesting sounds and haven't even focused on making a single track yet. thanks for sharing Tom! I hope you get the chance to be even bigger, because the saddest thing is to see a talented person give up on his dream. again, i really like your tracks called "stallion rider" it's great like james horner's song in braveheart movie or hans zimmer in pearl harbour, the melody and pattern are very easy to stick in the memory. really great job.

[@TomHawkComposer]

That's exactly it Andika: Try to switch it around and focus more of your time writing music rather than worrying about the sounds as you're starting out. Glad you found the video useful! And don't you worry, I'm not giving up on my dream and have some really exciting projects in the works at the moment! And thank you for the kind words about Stallion Rider :)

[@kennethjackson4858]

H0PEFULLY, I’ll hear your output! Thanks ahead. You saved me lots of stress thinking I have to have it all (libraries) to do what you do. I have Opus Edition and I see Audio Imperial Nucleus Lite is on sale and I heard you do s video on that. I would like to get that and 🛑. Learning on my own and which I was as young as you but I want to learn more and have a couple of free libraries and that sound heart felt. But here, you made me realize to use what I have. Do you have a video on building a template? I see most of Beyond has a template built in their daw.

[@26th_Larry]

I like these kinds of advice and I admire your music content too but I just wanna ask, can a Music producer who has been producing songs and beats for like ten years switch to cinema easily in his/her thirties?

[@M4T]

I can’t agree more. I am a simple hobbyist but I went through the same process. I am now mainly using my good old first Orchestral essentials, Nucleus (because of you !) and EW Opus (I subscribed to the Composer cloud, long time ago). I hope I know how to use them, they cover almost everything I need. Besides I remember an old video from Daniel James where it is said “compose for the samples that you have”. I have my go libraries and patches for almost everything. I may tweak and blend sometimes with guest stars, but more or less, the skeleton is always the same. Some people may say that my sound is always the same… Is it so bad to have your own sound? Don’t think so. I guess for cinematic music, the textures that you add in the background make the final sound and signature, and these ones may change. So bottomline, I support you 100%. Keep up with the good work!

[@TomHawkComposer]

Awesome Stephane! Having a core orchestral template is a great way to work, and you just add to it for specific projects when needed. Thanks for watching and sharing your thoughts :)

[@JaredSmithTheIntern]

FOUR HUNDRED TRACKS?!

[@TomHawkComposer]

That’s a small-medium sized template for most working composers! My main template that I use for scoring work is around 800 tracks I think. If you use 2-3 libraries per orchestral section and use split patches for some libraries to layer articulations, you’ll see how quickly that track count can add up

[@jenssieckmann]

Arn Anderson called this choice paralysis and I think he is right.

[@TomHawkComposer]

Ah yes, that’s a term I’ve heard a few people use to describe this as well as analysis paralysis. It’s interesting how too much choice can potentially slow us down in our workflow.