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Topic: Do actual musicians have a future?

  1. #1
    Senior Member
    Join Date
    Dec 2005
    Los Angeles

    Do actual musicians have a future?

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    Just from a casual observers point of view I was wondering if musicians for Orchestra are running short of work with all these sample libraries available. There is concert work, of course, but I'd imagine film and TV are going more and more sample based.
    Dave M.

  2. #2

    Re: Do actual musicians have a future?

    If you look at how many scoring stages have been closed lately in LA it seems to be obvious that film and TV orchestras don't seem to have the brightest future.

    On the other hand film and TV orchestra are only a small part of the orchestra business. In Germany we have 133 professional orchestras that are funded by public money:

    - 84 theatre orchestras
    - 30 concert orchestras
    - 12 radio and radio symphonic orchestras
    - 4 radio big bands
    - 7 chamber orchestras

    ... plus the non-public funded orchestras. Plus project orchestras. Plus amateur- and semi-amateur orchestras that augment their lines by professionals.

    And we have

    ONE (read: ONE)

    film orchestra (Babelsberg).

    It may sound strange to some around these forums but there is a musical world outside of film music

    Maybe some helpful soul could post the according numbers for other countries like US or UK?
    All your strings belong to me!

  3. #3

    Re: Do actual musicians have a future?

    This page lists about 250 orchestras in the US:


    Compared to that it is probably not very significant if the number of film orchestras shrinks from 5 to 4 or so.

    (I don't believe there is any regular film orchestra anywhere, they mostly consist of session players in the LA area. They are the ones that probably feel the change coming from sample libraries.)

    On the other hand it is significant that everywhere "real" orchestras feel financial pressure due to decreasing budgets. One reason is that orchestral music is less and less appreciated by younger people and if the visitor numbers slowly go down then after some years the councilmen might decide to fund rather football than opera or concert.

    This is where sample technology could be a bless. If a new generation of composers would manage to write music - for real orchestra, but with the help of samples during the composition stage - that appeals to the people of today and draws back the visitors to life venues in higher numbers then this whole technology would have a great impact on our whole music culture.

    If it is solely used to cut some edges in the studio ... well, missed opportunity if you ask me.
    All your strings belong to me!

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