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Old 04-27-2019, 03:13 PM
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Default Alan Silvestri on Scoring a Blockbuster

This is a fantastic video (in two parts) about how Alan Silvestri used Cubase and Dorico to compose and orchestrate the music for Avengers : Endgame.


https://youtu.be/GrDqGEQux7g
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Old 04-30-2019, 06:31 AM
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Thanks for sharing.
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Old 04-30-2019, 12:56 PM
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Very interesting videos. I must watch them several times.
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Old 05-02-2019, 10:35 PM
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And people are surprised?
There’s a handful of composers who will be remembered decades from now, the Sylv is one of them.
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Old 05-05-2019, 07:33 AM
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I didn't learn anything from the video, it seemed 90% advertising Cubase & Dorico (neither of which I use), 10% handwaving generalities and no practicalities or tips.
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Old 05-05-2019, 07:45 AM
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It's not intended as a tutorial, but just a general workflow
of notation / mock-up in combination with work environment
as to how Alan Silvestri experiences it on his projects.
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Old 05-05-2019, 02:24 PM
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No, it's not intended to be a tutorial, but it gives you a glimpse into the workflow of one Hollywood's A list film composers.

His workflow is *very* different from that of e.g. Hans Zimmer, who typically works with a large team of assistants to work on mockups; and in fact his workflow is different from probably that of most Hollywood composer, in that he goes back and forth all the time between his DAW and Dorico. Typically Hollywood composers focus their attention on getting the midi mockup in as good a shape as possible, getting the cues approved, and only then go the midi files to the music prep team who use programs such as Sibelius / Finale / Dorico.

Using sketches as part of the composition process is not really 'usual', it's kind of a throwback to the way composers worked back in the days before there were composers, and e.g. how John Williams still works (though JW doesn't do computers, he writes everything with pencil and paper, sitting at the paper, resulting in a very complete sketch which he then gives to his orchestrator).

And obviously this works with orchestral scores, for scores that are heavily driven by synths / electronics etc. there's not much use for an engraving program.

And yes, obviously it's a ringing endorsement for Dorico, and I would say deservedly so. For the people who haven't been the following the history of Dorico, a little trip back in time. Back in 2012 the then CEO of Avid foolishly decided to lay off most if not all of the UK based development of Sibelius, headed by Daniel Spreadbury, in an attempt to cut costs, by moving development first to the Ukraine and then elsewhere. The music community was in uproar and called on Avid to rethink this, but to no avail. We even had a "Save Sibelius" group, and I recall calling into one of the investor conference call to cuss out the CEO ... lol, fond memories.

Anyways, what was a total disaster at the time turned out very well ... Steinberg / Yamaha snatched up Daniel Spreadbury and his team, pretty much lock stock and barrel, and in the year following that they started working on a brand new engraving program, designing everything from the ground up. It was launched several years later, and with the current version, it's turned out a very capable program, including everything necessary for film scoring / orchestration (large time signatures, video sync, markers). And it has one nifty feature that neither Sibelius nor Finale have: the ability to import a midi file into an existing score, including all tempo changes and markers, without having to set up a new score all over (which is the workaround in Sibelius).

Dorico has a very bright future, and after all the years of hard work, to get a ringing endorsement from someone like Alan Silvestri feel very, very, sweet, and well deserved. It's a classic scenario where out of a bad situation, something excellent has grown.
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