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A Gift for Redbanned

Discussion in 'Score Study Resources' started by Doug Gibson, Dec 2, 2019.

  1. As most of you know, I had aspirations of completing a string orchestration tutorial to sell on my web site.

    Well......between being flooded with work, to struggling with depression... it's now been just sitting on my hard drive for
    over 4 years now.

    So.....fuck it. Here is what I have. If it is of any interest or help to anyone, then I am happy. Better to just dump it than let it sit on my hard-drive. Who knows......someday I might be half the orchestrator @Thomas Bryla is.


    I put together this series on string orchestration to fill what I perceived as a gap with the current literature available on writing for stringed instruments. This video is not meant to be an encyclopedia and authoritative edition for all that can be done with string instruments. The approach taken in this series is to focus much more on the creative process.

    Suppose you are sitting at a piano or guitar and playing a few ideas --- what can you do?

    there are a number of things that make this course unique:

    Number 1: All examples were recorded with a small string orchestra. More and more composers for film and media are facing shrinking budgets. Modern-day composers are often recording smaller string sections which will then be blended together with larger sounding sample libraries. I often get asked: What is the smallest string section that I can record with and still have the final result sound orchestral, as opposed to say a string quartet sound. This video aims to solve that question.
    The second thing that is unique: All the examples were recorded within a two-hour time frame. If you are an aspiring professional composer or orchestrator your ability to manage the studio clock and how difficult of music to write within the time you have allowed is crucial to your success.

    The 3rd thing that is unique about this series: no "Editing" magic was used. Often music examples that are released commercially actually employ a number of sophisticated editing decoys. they give the impression of a single perfect performance. The reality is that they are a combination of many different takes put together. I specifically wanted to avoid that. I felt it would be much more instructive to hear which passages are more difficult to perform than others. What you'll hear throughout are un-edited versions of the audio examples.

    (I did select what I felt was the most successful of each example, but no splicing and pasting together various takes.)

    ** Since I mentioned composers creating hybrid scores, I wanted to offer both audio and midi files of each example so composers can have a shot at blending real strings with their string samples.
  2. Here are all the examples with score.

    (* I'll edit this a little later to give some context for the examples)

  3. Video's with me talking: (Please remember these are UNFINISHED)

    EX. 1

    EX 4

    EX. 6

    EX 7

    EX. 8

    EX. 9

    EX. 10

    EX. 11

    EX. 12

    EX. 13

    EX. 14

    EX. 15

    EX. 16


  4. I only scanned this for a second but this looks great and super helpful. Would be great to find a way to bring it to the next level...!
  5. Thank you for sharing this, Doug! Very generous. I look forward to go through all of these over the coming weeks so that I can learn from you.
    Doug Gibson likes this.
  6. @Doug Gibson Thanks a lot for this kind and unexpected gift! I watched all the videos yesterday and this is great stuff, I learned a lot from it! If you ever decide to finish the whole thing, I believe this thread here will work well as a "teaser" to get people interested in the full product. I agree with Mike that it would be cool to see this finished. However as someone who has had to shelf projects that I already had put hundreds of hours into, I'm well aware of the sunk cost fallacy and the downside to carrying such a thing around with you for years like some burden of productivity-debt. If you just need to draw a line and walk away from it for your own sanity's sake, I 100% understand and support your decision, because I've been there too!
    John Eldridge and Doug Gibson like this.
  7. I picked the right day to start lurking on this forum again. Thanks for sharing this Doug, this is such a great resource. I love the delay pedal effect!!!
  8. holy shit Doug, this is incredible! thank you!
    John Eldridge and Doug Gibson like this.
  9. Invaluable ressource for composers! Thank you, Doug!
    Doug Gibson and John Eldridge like this.
  10. Fantastic stuff, thank you Doug!
    Doug Gibson and John Eldridge like this.
  11. Doug, fantastic. I wish there was more because this is gold!

    I actually love the smaller string ensemble size because it makes hearing the divisi and different interlocking writing you're showcasing very easy to understand and hear. I really enjoyed the delay pedal effect and am going to have to try that on my next score.

    Thanks Doug!
    Doug Gibson and John Eldridge like this.
  12. The "Birds of Prey" example is an expansion of the "delay pedal effect".

    You know about the seagull effect right? That's sort of the pun I was inferring. (nothing to do with harmonics in my example)

    John Eldridge and Dillon DeRosa like this.
  13. Thanks for sharing this Doug! This is incredibly kind of you. I can't wait for the holidays to sit down and take all of this in!
    Doug Gibson and John Eldridge like this.
  14. I understand your busy

    Mauro Pantin likes this.
  15. Thanks Doug! You have a lot of great material here and it would be wonderful as part of a course on string writing.
    Doug Gibson and John Eldridge like this.
  16. Wonderful gift Doug, and some really inspiring tips and tricks. Though I hope you can find a way to carry your project forward rather than just throwing the towel in. Its a process and a journey you know? You have to keep it going. You have a tremendous amount of experience and I really appreciate what you have shared here with us on redbanned.
    Doug Gibson and John Eldridge like this.
  17. Thank you so much for this.
    Doug Gibson likes this.

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