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Topic: Pro Composer Set Ups, Add to the knowledge

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  1. #1

    Pro Composer Set Ups, Add to the knowledge

    Hey guys,

    Just wondered if you guys could shed some light on what sample libraries and virtual instruments the pros are using. In particular i'd love to know what Harry Gregson-Williams uses....i'm aware alot of his stuff is sound design.

    So basically if you know what libraries a pro uses please post it here. If you fancy yourself a pro by all means post your own set up.

    DaZ

  2. #2

    Re: Pro Composer Set Ups, Add to the knowledge

    The pro's are using the only library that counts: their uncle/dad with the connections.

  3. #3

    Re: Pro Composer Set Ups, Add to the knowledge

    Setups doesn't have much in common with good results. They only deliver what you tell it to deliver. Both the ideas and the results resides within you yourself.
    Kid: When I become an adult I wanna be a musician.
    Parent: Son, you cannot become both.

  4. #4

    Re: Pro Composer Set Ups, Add to the knowledge

    There's a long HGW interview on the Kontakt 2 Instructional DVD in which he states that he makes a new library for each project. He also states in some other interview that he has all the commercial libraries, so it seems to be a combination of home made and store bought.

    My complaint with his music (to go off topic) is not his sounds but the fact that every piece seems to have a steady tempo. It sounds sequenced because there's no rubato. That's why computer music lends itself more to dance music than orchestral music. The click track is a good tool for certain situations but he overuses it.

  5. #5

    Re: Pro Composer Set Ups, Add to the knowledge

    I guess I would now fall into the pro catagory (I'm scoring my 2nd feature film). I have a lean and mean setup. I'm using a intel dual Core 2ghz with 4 gb of ram. I have a 2TB Sata raid for my sample libraries. A typical cue for me usually ends up being at most 35-40 tracks which this machine can handle no prob. I do my sequencing in FL Studio (don't laugh... its pretty powerful once you get under the hood and it has video playback). I render my track splits (strings, percussion, synths... etc) which are then brought into Protools for layout and mixing (Protools seems to be the delevery format everyone likes). I use an Maudio Prokeys 88 controller. I have a pair of M-audio bx8 studio monitors. As far as libraies go I have pretty much everything out there (including EW, VSL, Project Sam... and everything in between). I also have a huge collection of custom recorded stuff. Aside from the sample stuff I also have 2 ESP guitars an ESP bass and my newest addition, a Lime green DDrum Dominion Ash drum kit. A few years back we bought a 6'x9' wisper room, which is awsome for recording live instruments and vocals.


    -T

  6. #6

    Re: Pro Composer Set Ups, Add to the knowledge

    Quote Originally Posted by JMDNYC
    My complaint with his music (to go off topic) is not his sounds but the fact that every piece seems to have a steady tempo. It sounds sequenced because there's no rubato. That's why computer music lends itself more to dance music than orchestral music. The click track is a good tool for certain situations but he overuses it.
    Well that is his choice for whatever reasons but that does not mean that "computer music lends itself more to dance music than orchestral music."

    I do very musical rubatos alll the time in Logic Pro.
    Composer, Logic Certified Trainer, Level 2,
    author of "Going Pro with Logic Pro 9."

    www.jayasher.com

  7. #7

    Re: Pro Composer Set Ups, Add to the knowledge

    what's rubatos?

    Every song I make doesn't sound realistic because each instrument hits excactly on the note.it sounds "computerish"....how do you make them play realistic?

  8. #8
    Senior Member Nigel W's Avatar
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    Re: Pro Composer Set Ups, Add to the knowledge

    Well I consider myself a very lucky hobbyist, but music has been my living (sometimes better, sometimes worse) for 30 years, and composing for about half of that time.

    The libraries are important, and the more you have, the more your choices; but you can make the best sounds come across sterile, and the "cheapest/worst" breathe through dynamics and timing. In other words, volume and colour/timbre, and tempo/groove (including rubato, which I call "waiting for the note").

    That's about it IMO. But of course, I'm curious too about what everyone else uses. I'd be more curious to see *how* they use it , though.

    Nigel

    PS a tip for instant "rubato" -Logic's Tempo Fader is wonderful for breathing life into sequenced passages. Especially for less groove-based music without drums/percussion.

  9. #9

    Re: Pro Composer Set Ups, Add to the knowledge

    Quote Originally Posted by Audun_Jemtland
    what's rubatos?

    Every song I make doesn't sound realistic because each instrument hits excactly on the note.it sounds "computerish"....how do you make them play realistic?
    To play "rubato" means, essentially, to play freely, and not locked to the beat (I think this is what you mean by "exactly on the note").

    There are at least three ways to avoid that mechanized, "computerish" sound... (1) play everything live, on a keyboard; (2) use the "quantize" function of your sequencer program, which automatically adjusts some notes a little bit ahead or behind, to simulate the natural inaccuracies of "human" playing; or (3) dig into the MIDI, and use your mouse to move each MIDI note around a little, until it sounds right to your ears.
    — alanb

    ...........................

    http://alanb.org

    http://www.myspace.com/arsperspicuus

  10. #10

    Re: Pro Composer Set Ups, Add to the knowledge

    I'd never heard of the Tempo fader. I looked it up in the manual, and it says that "the movements of the tempo fader are ignored when external SMPTE sync is active." I'll have to see if this works when locked to MTC, which is how I do it.

    My usual technique of doing rubato (which literally means "robbed" time) is to play a piano guide track without click and then to remap it by hand using Beat Mapping in Logic, which is neither quick nor easy. Setting a cue to 130 bpm and going with that is much easier, which is the essence of my earlier snarky criticism of HGW (who, by the way, is a lot more successful than I am, so what do I know).

    And I also stand by my comment that most computer based music is dance music. Look at all the plug-ins and features in all the DAWs; I'd say the market is 80% dance, 15% pop and maybe 5% classical (into which most film scores fall). Most readers of this forum are probably in the 5%.

    To answer the original source of this thread, my rig is ProTools HD3 which sends Midi timecode to another computer running Logic. I use Kontakt 2 as my main sampler, which I also have on a third machine (and a fourth if I add my MacBook to the mix). My interfaces are the Digidesign 192, the RME Fireface 400 for the Logic machine, and an Metric Halo ULN2 for the third machine. ProTools handles the picture and all audio files as well as Altiverb 6. Logic does all midi (even sending midi to ProTools). This way I can have an elaborate tempo map in Logic and not worry about having the same in ProTools. The libraries I use are EWQLSO Platinum XP, Kirk Hunter Emerald, VSL Opus 1, Garritan JABB, Stormdrum, RA. I'd like to buy the Project SAM bundles next big job I get (I only get the small ones).
    JD

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