Pro Audio Files: This is a great time for anyone interested in creating music for visual media, whether it be films, television, games, or advertisements. Music from the Golden Age of Hollywood was reliant on expansive teams — composers, arrangers, copyists, music editors, players, engineers and more each played their role in creating the memorable scores from when the Hollywood Studio System dominated cinema.
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The amazing part about this day and age is how technology has changed in sound. There are so many new and amazing digital audio workstations, synthesizers, and softwares developed to create midi produced scores for film. This article lists a lot of different ones that are really good, like Spitfire and Cubase that many professionals in the industry use. The only thing that is a little discouraging is that most of these amazing softwares and synthesizers that are created specifically for film scores cost a lot of money for packages with a full orchestra. The Spitfire package that this article recommends is $699 for a full orchestra midi produced sound package. For a student and budding film scorer, it is disappointing that many of these softwares do not have education packages or free packages. I understand that they have to make money, as everyone does, but it is hard to break into an industry on your own without the tools most everyone else uses. I guess I will just have to find a good studio somewhere that has these softwares available and hope they aren't too hard to use.
It’s pretty wild what you can do with virtual instruments now. Listening to movies, tv shows, and live theatre scores, most people don’t even realize that most of what they’re listening to is digitally created, and even for those of us that listen for it, it’s sometimes hard to tell. One of my favorite TV shows, “Person of Interest,” is absolutely gorgeously scored by Ramin Djawadi (Game of Thrones and Westworld among his other credits), and I must have listened through the entire score upwards of 50 times before I ever noticed that some (if not all) of the instruments were samplers. Really, only after I had spent a significant amount of time with samplers myself was I able to notice the tells in the attack of the sounds. For the highest tier of productions this is a small tragedy: it’s getting rarer and rarer that even blockbuster movies employ full orchestras, which are still the best you can do. But for smaller productions and designers, it’s an amazing new world. If you’re willing to put in the time, you can have the London Symphony Orchestra at your fingertips.
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