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Making it Even Better!
Hello Leandro my name is is Leonardo Escarcega. One question that comes to my mind is to how to properly use automation and expression to properly manage a drastic change of dynamic volume and tone when creating realistic orchestral mockups, it’s this only achieve with automation or volume too?
Hi Leandro,
The course is very comprehensive and very well detailed.

I would suggest the following:

a) Percussion: a step-by-step approach in how to create the percussion (to sequence them) showing the music sheet / score with the steps to build the pattern. Example: we see the score/a simple pattern with all elements and then you show how to combine those elements; Add percussion climax, tips regarding doubling for color

b) For some topic presented (or some bunch of topics) you could add recommended reading / suggested reading, if there is any, just in case if someone is interested to explore further material.

Other than that, in my opinion, it is terrific. Congratulations.

Hi Leandro. Thanks for sharing and giving us the opportunity to participate.
I have two questions about midi orchestration that I would like to be covered.
How can you invest in the main libraries gradually, little by little, from a small investment, testing and being sure that what you buy is what you need. That is, in what libraries you have to see by setting the budget that is available to invest.
And the other question is how to achieve that realism that derives from knowing how to perform articulations and dynamics in the way that a real musician would, and how to correctly use automation and expression to properly manage a drastic change in dynamic volume and tone.
Thanks and regards
[quote pid='509' dateline='1548679103']
Leandro GardiniWe are very close to the release of our long awaited Scoring Tools Masterclass 702.
However, I need your help.
I want to make sure that I have included everything that is possible for this course and there is where you come in.
There’s only one question that I would like you to answers that is:

Upon checking our SYLLABUS, what are your two top questions about midi orchestration that you want to be covered in Scoring Tools Masterclass 702 and 703?


I am in need of learning
1) What options are most cost effective without a machine room separate from one's workspace/production room.
2) When viewing sucessful film/game/tv composers' hardware setup options:
I wonder about using Dell (or similar) Servers vs PC Slave desktop/rackmount computers or both
- like Junkie XL is doing currently, yet I don't understand why there is a need for a Mac Mini + audio i/0 box + PC Slave w/UA audio i/0 + Dell Server with 6 drives per section of his orchestral palate. (x 4 to hold his complete template)...  Why wouldn't just the PC slave with a server or just a Mac with a PC server do the trick via ethernet and Vienna?? Why so many audio i/o boxes?

I get he needs x4 to have ready to access enormous amounts of tracks for his template. I don't understand why each unit of the 4 needs all the sub-components as listed.

This is an area I think would be beneficial to learn and have some great guidance rules or strategies in addition to all the wonderful materials you have gathered. (maybe it's all there already, but do hope to learn about this)..
Thank you so much for the positive feedback. I believe there's always something more we can do to improve our products.

I read all comment and some of them can be implemented right away.

Stay tuned because I have some news in the coming days!

Firstly the course is GREAT!! 

Here are my suggestions, but I think you are planning on covering all the items, however these are the areas that I am working on.

I noticed how in your writing you make use not only of the dynamics as they would be indicated on a written part, but also how you use the orchestra to layer sounds to create dynamics.  I.e. combining Tuba, Bass Trombone and ContraBass to add “more weight" to a part.  I look forward to learning your ideas on instrument combinations.

I find that dynamics are so important, but some libraries have the samples setup so they are crossfaded using velocities (p, mf, f, ff). I prefer to have the samples setup on either a mod wheel, breath controller or another slider on a control surface, as this gives me the control over the samples in my preferred workflow.  I would like to know which libraries you use that allow the custom setup for controlling sample crossfades.

In my system I have found the following:
  • A weighted keyboard is good for playing in some parts especially piano 
  • For a lot of quick lines, grace notes, I prefer a non-weighted keyboard
  • A breath controller is a big part of my setup and would like ideas on how others are using this type of controller
  • As a guitar player I also use a guitar synth, and others may want to know about alternative controllers (wind controller)
  • The group of intelligent mixing and analysis tools i.e. iZotope Neutron 2, FabFilter & TDR Nova – Gentleman’s Edition, are plugins that save me a lot of time for “quick and dirty” production.  (I am not sure if they have a place in this course.)  These types of plugins are making inroads in our industry, a discussion is relevant because of the results you can get and the affordability of these multi-plugins.
I LOVE THE COURSE and I can’t wait to get to the next lesson
Thank you so much guys!

For those that mentioned about matching libraries it is on Lesson 6. Matching libraries is indeed on of the most important parts of a good mockup.
Regarding realism unit 703 will be mostly dedicated to this subject. Unit 703 will be dedicated to a fast workflow without compromising the quality of production.
Actually, the sequence of the course has been made in a very logical way where one lesson/unit prepares you for the next. For example, to achieve realism and fast production you have to first match libraries all together and learn to work their differences.

(01-28-2019, 03:34 PM)thiagoalmeida Wrote: Hello Mr. Gardini!

I am very grateful to be a part of the Scoring Tools Masterclass students!

I am currently studying the 702 course, there is incredible information there! I am grateful for all the fantastic tools of each course! For those who made the 701, I'm sure to be amazed by the 702 !!!

My questions would be: how to invest in the main softwares with gradual ranges of values, from a simple to a broad investment? The second question does not exist, the course have explained me everything!

Thank you! Hugs to all!

Thiago, this is really important for those that don't have a template yet. Thank you for the suggestion!

I have just created this thread. I hope it helps you.

(01-28-2019, 04:23 PM)Maximus Wrote: Dear Leandro,

As someone previously mentioned, the syllabus as it stands is very thorough and detailed... Personally I would love to understand how to create a more chamber like sound and not just in terms of space (reverb) but how to assemble a more chamber like virtual ensemble that is expressive.

Keep up the wonderful work... I just wonder how your upcoming courses will be like knowing your dedication and knowledge.

Kind regards and many blessing,

Max T.

Max, I believe what you want to know is in Lesson 8. In this lesson I teach how to adapt our template to any other music style and formation.
With just a matter of minutes you can adapt your matrix template to any size ensemble and room. It is much better than having lots of different templates.

(01-28-2019, 03:48 PM)superkunk Wrote: It's difficult to imagine anything missing from your Syllabus given the amazing detail you are putting into the lessons - so much of it is exactly what I am interested in learning from you. My biggest frustration in creating my own mock-ups is overall realism and deciding on what kind of sound I'm trying to emulate. It seems like you use a pretty heavy overall reverb in your scores which sounds great... but when studying some modern composers I hear a much drier sound with a lot of punchy dynamics, something I am also quite fond of. Now I realize these are all actual live orchestras performing but I'd love to learn more about how best to achieve the various types of wet/dry soundscapes that I hear in modern recordings. Seems you like you touch on ambience quite a bit in the upcoming lessons so really looking forward to that!

Terrific stuff so far - thank you!

The amount of reverb and distance is usually a personal choice of the composer and the project he/she is working on.
I agree with you, I think my mockups are more wet than the average out there but I have developed a system where I can easily change the ambience without spending a lot of time on the adaptation. See my reply to Max above.

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