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Achieving a Symphonic Film Score sound with Sample Libraries - Synthestration

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Symphonic film music for more than the last half-century has largely been defined by the sound of the performers, spaces, and engineers of two filmmaking centers: Los Angeles and London. Whether you are a composer with access to live performances but still subject to the need for excellent demos, or you rely on the use of virtual instruments for your music to be heard at all, the L.A. and London aesthetics are almost certainly production “holy grails” to you. The latter has been the standard for me since 2001 when I fell in love with Howard Shore’s scores for the Lord Of The Rings trilogy. Much has been said about achieving these standards over the years, and this is an attempt to condense some of what I have learned into what is hopefully a clear and useful approach for having 90s/early 2000s-style recording sessions at your fingertips… at least, as close as virtual instruments will allow. Note the timeframe specified. My focus is a large orchestra playing together at the same time in

“...this is an attempt to condense some of what I have learned into what is hopefully a clear and useful approach for having 90s/early 2000s-style recording sessions at your fingertips… at least, as close as virtual instruments will allow.” Achieving a Symphonic Film Score sound with Sample Libraries by Charlotte Trapasso Introduction Symphonic film music for more than the last half-century has largely been defined by the sound of the performers, spaces, and engineers of two filmmaking centers: Los Angeles and London. Whether you are a composer with access to live performances but still…

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