LoL!

Hahaha

totally agree

He's probably just using both, Mac for mobile (quiet, fast, good battery life) and PC for desktop. Since both Cubase and VST3 are platform agnostic it doesn't really matter much anymore.

Great suggestion! Coming up! 😀

@@CinematicComposing YES THANK YOU SO MUCH!!

I would like to see that too, I love evil music! Here's what I found so far: - Use clusters - Half-step trills sound pretty scary too, especially on string instruments - Create dissonance and write off key on purpose, at least in higher registers. For lower registers mostly keep it normal (chord notes, in key, avoid dissonances, etc.) to have a solid "foundation" - Check out mediant chords for the classic movie villain sound; more specifically, instead of using functional or modal harmony as per usual, go from a minor chord to another minor chord, such that they are a third away. For instance: C minor could be immediately followed by either Eb minor, E minor, A minor or Ab minor. This was used in, for example, "The Hunt Is Coming" from Witcher 3

Hello, it s very easy to make it. I do not details the piano not, cause i guess you already know piano, in case, their is google will explain you on what note to push to make the sound down below. And im fromsoftware player too :D So, to do that, the 1 method, is to play (from logic side coming from dark soul ost) minor chromatic by semitones who is give you: Cmin, C#min, Dmin, EBmin etc....... The 2nd method is still chromatique, but this time, no semitone, but by 3rd major, who is give you a loop chord progression ascendant: Cmin, Emin, ABmin, Cmin, Emin, ABmin, Cmin, Emin, ABmin, Cmin, Emin, ABmin etc........ Their is 2 chromatic other method but maybe you don t care about what i say, so i will get off these one to win time, however if you have test the technique up and interesed by the 2 other, i will give it to you. Okay, it was the 2 first common technique to have "a dark side mood, just by using minor, of course musique is extensible, major only or between minor is always welcome. Okay, now, let s speak about "Motoi Sakuraba" technique: Minimizing the movement by using chord invertion and without, as exemple: Cmin, Emin/B, Amin/C, Fmin/C, C#min. For orchestration (i work under metropolis ark serie) and i use basicly: Percution: low drum with timpani and bells from berlin percution Cuivre: Ring tuba, Cimbassi, bass trombones String: low string, high string in octaves. Choir: choir, specialy marcato long et staccato. Bonus: French horn legato tracing out chord progression line. Recommended BPM: 165, 8 bar chord mixed with 4 and 2 (for quarter note triplet) Have a nice day !

All FX get printed to final stems. There's an export mode called "+ Master/Groups/Sends (CSPM)" that will to multiple passes when you export so FX get printed in stems... hope it makes sense :)

You can but you'd need to use a key switch set to change it from legato to Pizzicato, then back to legato again. A simple trick is to play it in and hit the pizzicato key switch on the keyboard as you are doing it and then immediately change it back. Hope that helps.

@@doctorcaneyour help was appreciated ✊

Audio Impera and Keep Forest

Thanks so much for answering Marc! You’re a freakin boss at what you do!

At the beginning (and later, too) you can use Reaper, it's free and very powerful. BBC Symphony Orchestra is also free.

@@MatejKovacicIllustrator Thank you. I've checked both of them out, but as far as control over the patches goes, they're both pretty limited (I specifically noticed strings). I know it's not common for a "beginner" to go after details like this, but my ear seeks perfection. Thank you very much for your advice Matej, and if anyone has good recommendations for a full library (or libraries) with which I'll stay under $500, I would greatly appreciate your suggestions.

@@armenhovhannisyan5505 ​ you won't find perfection in sample libraries. Every one of them makes compromises and has limitations in certain areas. That's simply the nature of sample libraries. You need to learn to work with them - not against them - to bring out their best. Or just use them as demo tools and find real musicians.

7 TB

@@CinematicComposing Wow.and Ram memory?

In this scenario: I submit music twice per week (about 10 mins of music per submission). I usually get feedback from director within the day (usually within the hour). A good director will give you specific and clear feedback so you can make changes fast. I usually do changes first and then continue with new cues. No, there's no extra time for rewrites. If the deadline is August 26th, then all music (including rewrites) needs to be submitted to dub mix by Aug26th. An experienced director that knows you're working under a tight deadline, will work very closely with you (ie. giving you precise and detailed feedback quickly) so you can move as fast as possible. The director is usually on your team in that regard. Directors don't set the deadline. Not even producer. It's usually the Network that sets dates. So the production team we're all in the same boat making it happen. The director knows that it's as important to bring a good composer, as giving her/him the best guidance and feedback possible to have a good soundtrack submitted on time. In general, I've been very privileged to work with directors that don't just respect my work, but have worked with me to make it better for the project.

heeeeeeyyyyyy Combo Veracruz Orquesta!! Desafortunadamente no está en español :( Saludos!!

@@CinematicComposing 😭 ¡RecontraChanfle! ¡Hola Marc! Gracias por responder mi pregunta. Sigo intentándolo😉 ¡Gracias por todo lo que compartes! 💪🎶👌 ¡Siempre Salud y Éxitos!

It's free here! composinghacks.com 🤩

No he means ram look at his studio tour