Composition approach survey

[Marc B]

Working with the VSL offers so much possibilities, it's very inspiring but at the same time I find the work flow can be an issue at times. Managing the
tasks of composing, orchestrating, sequencing and producing the music without wasting to much time and losing sight at your goal can be a challenge at times. I'm just curious to find out how most people work.

Method 1:
Do you compose at the computer, sequencing and orchestrating at the same time, loading the patches you need as you go?

Method 1B:
Do you compose at the computer, sequencing and orchestrating at the same time, using various setup templates you've created?

Method 2:
Do you figure out the instrumentation and articulations, dynamics patches etc. you plan on using (basically setting yourself parameters) then compose with the patches you've got loaded?

Method 3:
Do you write down and orchestrate on paper then worry about doing the MIDI orchestration best you can with the memory you've got?
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These days, I've been using Method 1 and it's not efficient at all. I have 2 PCs with 1 GB each and most often I'm running out of memory. I use to work like Method1B but I need to update my templates, the ones I have are not using VSL. It's kind of difficult with the VSL to have templates, the break down of patches is so specific. Method 3 seems like the way to go but I think it may result in making some compromise at the production level. The best solution might be a combination of Method 2 and 3.

THoughts anyone?

[dpcon]

You've got to have some sort of template or you will by default be creating a new one every time out (which would be terribly inefficient.)

Therefore: create a minimum template i.e. instruments you will use with 80 or 90% certainty.

For example every PerfLeg instrument I have (1st ed) is on my template (2 gigastudios 1.5 gig ram) That way I have high quality instruments in all the basic groups (strgs, ww's, brass.) I also load a bunch of BASIC instruments to give me different articulations - keyswitched. I also keep around a few old standby reliable samples that have always worked for me ( but I've weeded a lot of those out as I've found superior samples in VSL)

Set up a minimum percussion section (Timp, Glock, BDrum, Chimes, Cymbals etc)

Now, as the piece takes shape and I begin to see what I need to keep and what I don't need (say PerfLeg Trombone for example because the BASIC bones are doing the job) I dump the PerfLeg bones and I add whatever special instrument I need (6sec cresc instr for example.) I keep this approach throughout continuously modifying my basic palette (praying I don't run out of memory.)

Compositionally speaking there are at least two basic approaches

1. Score pad as if the orchestra was live. The better quality samples of today allow for this approach more so than in the past. The artifacts and build up of grating frequencies in just a simple unison use to force endless editing when working with inferior samples. You could not write/orchestrate normally under this restriction.

2. Writing (at CPU and midi controller) to the strengths of available samples or even the confines of a well rounded template.

Both approaches can work and one should be equally facile at both as they tend to yield completely different results. Approach #1 tends to originate from the composer. #2 tends to originate from the samples (being explored by the composer.)

That will be $.02

Dave Connor

[Fred Story]

I like to do my composing at the piano before I sit down in front of the computer. With my short attention span, I sometimes tend to jump into orchestrating before I have a decent melody and harmony to orchestrate!

Not only does this help me make sure my musical ideas are sharply in focus, it lets me spend a little time at my lovely C7 piano...which makes me FEEL like a composer. (Of course it's for others to decide whether I'm actually qualified for the title. I'd say it makes me feel like a piano player, too...but that would be pushing it.)

Only when I feel I'm ready (sometimes with my ideas in my head - sometimes on paper...depending on how complicated they are - or how cloudy my mind is) do I head for the computer. I can usually pretty much hear the orchestrations at this point, or I have some things jotted down, so I just dive right in. I have several Logic templates I use, so I pick the one that's closest to the orchestration I'm hearing and start flailing away.

Once it's reasonably close to how I heard it, THEN I like to experiment with the orchestrations. Try a doubling...add a moving line...go for more expressive articulations, etc. THIS is where VSL has made such a difference. Dave is absolutely right...it used to be that about half the things you WANTED to do you ended up tossing out because the samples just weren't good enough...especially on solo instruments.

I used to say that on a good day, my samples would let me CONVINCINGLY accomplish about 40% of what I could with a full live orchestra. (To clarify, I mean changing something - no matter how small - that I WOULDN'T have to change with live orchestra.) With VSL I'd put it at around 70% average. As much as 90% on some things. I think that's remarkable.

Did I stray off-topic? Sorry. I can ramble sometimes.

Fred Story

[Marc B]

Thanks for your detailed replies, keep them coming it's great to hear how people work.

[mathis]

Up to now I did work in a kind of traditional way. My first sketches I usually make with pen and paper. As soon as I have some material I switch to Sibelius because I tend to be very lazy on paper. In the computer I have absolutely no fear of changing things. (and I´m a better changer than composer. I need to have something on paper as fast as possible to overcome the panic of blank paper. then I can relax and change as long as it needs to finally become good, which usually means it´s a completely different piece in the end....) Attached to Sibelius is Garritan Personal Orchestra which allows me to hear the complete orchestra on one computer at once in realtime. changing articulations is almost not possible in the moment but maybe it´s good to keep some rest of imagination.
Then I print out the finished score and play it part by part into the sequencer with VSL instruments.

[DaveTubaKing]

I can't tell you what I do cos I don't but I'll tell you what I dream of.

Composing into Sibelius and having the live playback in real time with VSL using all and any articulations - no sequencer, no midi keyboard, just me, Sibelius and those glorious VSL sounds.

Anything else spoils the fun.

DC