Online Master's Degree Course

Orchestral Mockups in Film Scoring

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Authored by Andreas Bjørck

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Course Code: OCOMP-507

Next term starts January 13, 2020

Level 5 - Degree Only

Level 5

This course emphasizes the creation of realistic-sounding orchestral sequences, using current, professional-level orchestral sample libraries and DAWs. You will learn how to emulate live orchestral performances, using industry-standard tools and techniques utilized by composers across the film, TV, and video game scoring industries.

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By the end of the course, you will be able to:

  • Create orchestral MIDI mockups that sound exceedingly realistic, by maximizing the potential of current orchestral sample libraries, professional MIDI editing techniques, and tools found in modern DAWs, and mixing tools like reverb and EQ

  • Evaluate the qualities of, and appropriate areas of use for, current orchestral sample libraries, based on sound quality, playability, and stylistic versatility and application 

  • Configure and modify existing sample libraries to enhance their performance and maximize their potential effectiveness across a wide variety of uses 

  • Solve common MIDI mockup problems that often detract from a realistic orchestral sound, such as repeated notes, woodwind and string runs, the “organ effect,” and unnatural instrument balances 

  • Configure a complex orchestral sequencing template, based on professional standards for performance, workflow, and delivery requirements

  • Manipulate sample library articulations using a variety of touchscreen solutions, and/or real-time MIDI input methods, that interface with current DAW articulation management systems

  • Utilize mixing concepts and techniques specific to orchestral mockups, such as blending different sample libraries, spatial placement, managing multiple microphone layers, and managing room- or noise build-up

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Overview Syllabus Requirements Instructors Request Info

Syllabus

Lesson 1: Orchestral Mockup and Sample Library Fundamentals

  • Orchestral Mockup Objectives and Philosophy
  • MIDI Basics/Review
  • Orchestral Sampling Overview
  • Assignment 1: Dynamic Control

Lesson 2: Basic Template and Reverb Setup

  • Basic Track/Template Creation
  • Setting up Reverb as a Send Effect
  • Basic Reverb Techniques for Orchestral Mockups
  • Assignment 2: Small Template Setup

Lesson 3: Woodwinds

  • Woodwind Overview and Challenges
  • Woodwind Sequencing Techniques
  • Woodwinds Reverb and EQ Considerations
  • Assignment 3: Woodwind Sequencing

Lesson 4: Brass

  • Brass Overview and Challenges
  • Brass Sequencing Techniques
  • Brass Reverb and EQ Considerations
  • Brass/Woodwind Chords and the “Organ Effect”
  • Assignment 4: Soft Brass Sequencing

Lesson 5: Percussion, Harp, and Piano

  • Percussion, Harp, and Piano Overview
  • Percussion Techniques
  • Harp and Piano Techniques
  • Perc, Harp, and Piano Reverb and EQ Considerations
  • Assignment 5: Percussion, Harp, and Piano Sequencing

Lesson 6: Strings (Part 1)

  • String Overview and Challenges
  • String Sequencing Techniques—Short Notes
  • String Short Note Reverb and EQ Considerations
  • Sample Latency and Negative Track Delay/Offset
  • Assignment 6: String Short Note Sequencing

Lesson 7: Strings (Part 2)

  • String Long Note Overview and Challenges
  • Long Note String Sequencing Techniques
  • Divisi String Sequencing
  • String Runs
  • Legato Sample Pre-Delay
  • Assignment 7: Strings Long Note Sequencing

Lesson 8: Reverb and Room Placement

  • Reverb Concepts
  • Scoring Stage/Studio vs. Hall/Tail Reverb
  • Creating a Hall-Like Reverb Tail
  • Multi-Mic Sample Libraries and Blending Different Libraries
  • Assignment 8: Hall Reverb Setup

Lesson 9: Template Building and Articulation Management

  • Template Philosophy
  • Track/Instrument Management
  • Articulation Management
  • Assignment 9: Final Project Template Setup

Lesson 10: Stereo Panning and Audio Routing/Stem Concepts

  • Stereo Panning vs. Stereo Balance
  • Routing and Reverb Send Implications of Panning
  • Routing/Bussing Concepts
  • Assignment 10: Stereo Panning

Lesson 11: Final Mixing and Mastering

  • Mixbus Processing
  • Stem Mastering
  • Gain Staging and Healthy Audio Levels
  • Limiting and Dither
  • Assignment 11: Final Project

Lesson 12: Touchscreen Controllers and Networked Server/Host Setups

  • Touchscreen Controllers 
  • Useful Third-Party Utilities and Workflow Enhancers
  • Vienna Ensemble Pro

Requirements

Requirements coming soon.

General Course Requirements

Below are the minimum requirements to access the course environment and participate in live chats. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course. 

Mac Users

PC Users

All Users

  • Latest version of  Google Chrome
  • Zoom meeting software (available in the course when joining your first chat)
  • Webcam
  • Speakers or headphones
  • External or internal Microphone
  • Broadband Internet connection

Instructors

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Author & Instructor

Originally hailing from Norway, Andreas Bjørck is a US-based composer, producer and remix artist. As a composer, Andreas has specialized in scoring documentaries for film and television. He has also scored a wide variety of short films, commercials, promos, and corporate videos. His most recent work includes the score to FEMMEfille, a feature length documentary by acclaimed director Kiki Allgeier, the PBS/NOVA documentary special, Hunting The Elements, and the PBS documentary, The Gene Doctors. Andreas is a graduate of Berklee College of Music, with a degree in Film Scoring and Electronic Production and Design. He is a former staff composer, sound designer and engineer Verité Music, the premier commercial music house in Boston.

Questions?

Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at advisors@online.berklee.edu.

We can also answer basic questions in the comments below. Please note that all comments are public.

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