Crudebyte Intros iSymphonic Orchestra For iPad


Crudebyte has introduced iSymphonic Orchestra, a new app for iPad that turns the device into a orchestral sound module.

According to Crudebyte, “iSymphonic Orchestra was designed with the goal to deliver you superb, extremely realistic and stunning orchestra sounds”. Continue reading

Aria Violinist – A Virtual Violin For Kontakt


Aria Sounds has introduced Aria Violinist, a new solo violin instrument for Kontakt,

Here’s what they have to say about it:

Like the cello sound we previously released, we have once again worked with a world class violinist, getting the perfect tone and massive range right into the highest but still crystal clear notes. The vibrato in the samples was also planned in such a way that it gives an extra human level, but isn’t controlled by software, allowing it to breathe more like a real instrument rather than sound like a ‘Kontakt instrument’.

Here’s a video demo: Continue reading

Gestural Orchestration With Leap Motion, GECO & Albion I

Film composer Hagai Davidoff has created a unique system for ‘gestural orchestration’, based around the Leap Motion controller and GECO, Geert Bevin’s gestural MIDI app.

The combination allows Davidoff to use his left hand to interactively orchestrate the notes played with his right hand on a standard keyboard controller.

In the first half of the video, Davidoff discusses his custom setup. The performance demo starts at about 6 min into the video.  Continue reading

Garritan Instant Orchestra Designed To ‘Democratize’ Orchestration

Here’s a new demo video, via Time+Space, for Garritan Instant Orchestra – a collection of virtual instruments designed to make creating orchestral music easier.

The library was designed to ‘democratize making music and orchestrating.’ It provides pre-packaged groups of instruments, combined sections, orchestral effects, and mood-based presets.  Continue reading

Scoring Battlestar Galactica: Blood & Chrome

Here’s a behind the scenes look at composer Bear McCreary‘s score for Battlestar Galactica: Blood & Chrome, a web mini-series based in the BSG universe.

McCreary’s score is a continuation of the musical ideas from his scores to Battlestar Galactica and Caprica, but it has an increased emphasis on synthesized sounds. McCreary explains his approach:

Synthesizers have been a staple of the science fiction genre since it first graced celluloid. The most famous example is probably Louis and Bebe Barron’s iconic score for Forbidden Planet. Many other composers, from Herrmann to Goldsmith, and even John Williams, have used synthesizers to depict alien soundscapes.

But, synths can be a deadly trap for composers and filmmakers.  Because the technology develops rapidly, synth scores generally do not age well.  There are many great science fiction films whose place in history is threatened by a score that grows campier with every passing day.

In 2004, I avoided using synthesized sounds in “BSG” as a direct reaction to these pitfalls.  The heavy, dramatic tone of that series would have been undercut by synthetic sounds.  “Blood & Chrome,” however, is a different animal – it’s simply more fun.  The emphasis on action and occasional comedy one-liners gave me license to introduce synthetic sounds to energize the acoustic instrumentation of the “BSG” score.

Whether or not you’re a fan of the various BSG series, McCreary offers an interesting look at modern cinematic orchestration.

Continue reading