Zeborah's reading page

(cross-posted with slight adjustments from foxmoth at communal_creator)

Howdy! I’m Yoon, an MFA student in media composition and orchestration. I am here today to talk to you about sampled orchestral mockups in composing music.... It’s a niche field even in (media) composition due to the cost + tech barriers to entry. I thought folks might be curious (and maybe interested in trying their hand at a lower-cost version of it).

To the extent that I have musical training (mostly Obligatory Asian-American Piano Lessons by volume), it’s classically inflected. Even folks who hate classical music :) probably know it exists. A more “traditional”/conservatory approach to writing for (symphony) orchestra might involve pen-and-paper composing to generate sheet music. This is my background and I still do a lot of sketching on staff paper.

This inherently means you’re reading (Western classical) music notation (of which more anon) and often means you’re wrassling explicitly with music theory and related topics.

However! These day, hiring a session orchestra is semi-doable by a dedicated individual if you have the money lying around. ( Read more... )

So most mortals who are doing orchesstral or hybrid orchestral scores for film or TV and especially non-AAA video games are using sampled orchestra mockups.

Note: unless otherwise specified, if I say “music notation” or “music theory” I’m referencing more or less common practice Western (European-derived)-style music notation simply in the interests of avoiding unwieldiness in this overview. ( some further observations )

Hiring a session orchestra may be surprisingly semi-doable by a normal human but most work in orchestral media composition (film, TV, video game scores) is now done in software via sampled orchestral mockup. This includes classical-ish, e.g. John Williams everything or Carlos Rafael Rivera’s score for The Queen’s Gambit, or hybrid orchestra (e.g. Two Steps from Hell) with synth or “modern” instrumentation elements.

A quick and dirty (incomplete) overview of terms you might come across in this space, with simplified explanations. There’s a LOT of jargon, some of which is obscure or confusing even to e.g. classical musicians entering this space! ( Read more... )

This has all been in the way of preliminaries, apologies! This is an extremely technical field so the jargon alone is A Lot.

These days, composers often write (in that workflow) using engraving software. In this context, this means “music typesetting for sheet music,” and for session work specifically there are strict formatting rules to save time (money). The other workflow for computer-based composition + production (i.e. not tracking live instruments, of which more discussion later) involves taking everything into the DAW and producing realistic-sounding mockups in software. I will (in future posts) run through DAW examples of this (hopefully with video + audio capture so you can see the workflow).

Happy to answer any questions; it’s almost impossible even to gesture at a bunch of the music or tech stuff in a small space, and I have almost certainly missed some useful jargon because it's UNENDING. :p

At this point, because life is too short, I block on sight people I see recommending anything by/to do with the serial racist TERF harasser Benjanun Sriduangkaew (Zen Cho's summary), who now writes as "Maria Ying" (with someone else)? (WinterFox, Requires Hate, whatever the hell other pseudonyms and/or monikers). There's a chance current readers/recommenders/etc. have no idea and just haven't heard, but like I said, life is too short, so why give any more time of day than "nope, blocking" to someone running around reccing a harasser?

(I was in her targeting crosshairs but fortunately only in a glancing fashion, unlike people I know whom she harassed in pretty awful ways, in an ongoing pattern of behavior.)