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Topic: OT: Hybrid-Orchestration for soundtracks.

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  1. #1

    OT: Hybrid-Orchestration for soundtracks.

    Hi,

    It would be nice to hear your thoughts on this topic.

    Well.... lately, I have been noticing that quite a few of the new soundtrack composers are getting a bit more creative in their orchestration, where more synthetic sounds, and textures, are being used, either exclusively, or mixed along with orchestral sounds.

    This trend was quite popular during the late 70's, and into the 80's, but then, for some reason, things seemed to change, and more of a pure orchestral trend was taking over during the 90's and early 2000's. I feel that we are heading back once again, to using hybrid-orchestrations !

    This IMHO, is a healthy new trend, that is taking place in the movie scoring field. Synthetic sounds IMHO can add quite a bit of character, flexibility, and create a new listening experience that can be very rewarding, and enjoyable, whether synthetic sounds are used exclusively for a soundtrack, or blended with orchestral sounds.

    For a while, I felt that soundtracks were a bit too focused on using a pure orchestral palette, (as if there was some kind of a synth-taboo) but I think that this is beginning to change, and I'm glad to hear composers, beginning to merge the synthetic, with the orchestral world, in more creative ways, creating new, and exciting sonic textures, to express emotions in film, quite a refreshing change, one reason for the change could be, that directors are becoming more flexible, and open minded about this, and are realizing that there many benefits in giving composers the freedom to mix the synthetic and orchestral worlds to achieve powerful, and emotional sonic cues.

    I think each soundtrack has its unique artistic requirements, depending on the film it needs to work with, sometimes, a pure orchestral soundtrack is the optimal way to go, but sometimes it is not, hence, I'm very happy to see more flexibility and freedom, given to soundtrack composers by directors, so that they can create stronger, and even more exciting musical ideas for a movie/visual media.

    These are very exciting times for film composers !

  2. #2

    Re: OT: Hybrid-Orchestration for soundtracks.

    Variety has been the norm through all the time periods you speak of.

    Perhaps not in the big-budget Hollywood mainstream, but that's only a small portion of films made, and by definition ($$$ risk) they are prone to sticking with "safe" formulae.

    Especially in markets outside the USA, this entire mass generlization concept falls apart.

  3. #3

    Re: OT: Hybrid-Orchestration for soundtracks.

    Quote Originally Posted by Von Richter
    Variety has been the norm through all the time periods you speak of.

    Perhaps not in the big-budget Hollywood mainstream, but that's only a small portion of films made, and by definition ($$$ risk) they are prone to sticking with "safe" formulae.

    Especially in markets outside the USA, this entire mass generlization concept falls apart.
    I totally agree with you, but, I'm referring to the the big-budget Hollywood mainstream soundtracks. I feel that they are beginning to change, and take a bit more risks in doing so, which I feel is a positive development.

  4. #4

    Re: OT: Hybrid-Orchestration for soundtracks.

    Would be nice if you're right.

  5. #5

    Re: OT: Hybrid-Orchestration for soundtracks.

    Couldn't agree more that this trend is happening with my clients. Which brings up another point. I have RMX, Atmosphere and few add on sounds for Kontakt - but what synth libraries should be considered for adding to orchestral scores.

    Your recommendations are appreciated.

    Rob
    Rob Elliott Music
    www.robelliottmusic.com

  6. #6

    Re: OT: Hybrid-Orchestration for soundtracks.

    For Synths I prefer using Hardware ! but quite a bit of synth VI's are available, either as part of a DAW, such as Logic Pro, Cubase, ..etc. which are quite good.

    As far as dedicated synth VI's. I would recommend :

    Albino 3 (for additive synthesis) , FM8 or Blue (for FM synthesis), Tassman 4, or Reaktor ( for physical modeling, and modular synthesis).

    IMHO, This would be a good mix of VI's that will cover a large spectrum of synthesis techniques. there are tons of software synth VI's to choose form, so this is just a recommndation that will cover a lot of ground.

    Hope this is useful.

  7. #7

    Re: OT: Hybrid-Orchestration for soundtracks.

    Many thanks. I'll check these titles out in the next couple weeks.


    Rob
    Rob Elliott Music
    www.robelliottmusic.com

  8. #8

    Re: OT: Hybrid-Orchestration for soundtracks.

    I can certainly vouch for this... just about every soundtrack I've done the past few years, clients have asked for less orchestra and more electronics/rock/etc. That and periodic complaints on other forums about there being too much orchestral music in game scores, which seems odd to me as by my count the electronic and popular-genre scores far outnumber them.

    Then looking at the Oscar winners (well... winner) the past few years, you can kinda see a similar trend against orchestral music, towards more popular styles.

    It's almost like people are allergic to strings or something
    Wilbert Roget, II
    Composer
    Rogetmusic.com

  9. #9

    Re: OT: Hybrid-Orchestration for soundtracks.

    Quote Originally Posted by Prince of Music
    If you wanna add some new synths you should check out the NI Komplete pack. With Reaktor, Absynth, Massive, FM8, Pro53 you pretty much have all the bases covered. Plus the B4-II and Guitar Rig sure come in handy.

    Tom

    Tom - now this is a GREAT idea!!!!!



    Rob
    Rob Elliott Music
    www.robelliottmusic.com

  10. #10

    Re: OT: Hybrid-Orchestration for soundtracks.

    Tom,

    I currently have Kontakt 2.x - is there an upgrade path of Komplete 5?

    Many thanks,

    Rob
    Rob Elliott Music
    www.robelliottmusic.com

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