Warps @ 19:50 fyi

u are amazing!

I wish these worked the daw faders… looking for straight up 16 faders to drop in a home made desk. I’ll have to go with the dope but expensive speck 16+m whatever its called

Is this only useable for MacOS ?

Will come back to watch and listen again soon. So far so good!! An interesting method of scoring a film by basically playing the parts into your DAW as opposed to the very old school pen and paper for instance. Lots of ways to get it done. Lots of things to think about at once. Could be a very stressful job. Nonetheless I like what you are doing how you are doing it and how it sounds. Bravo!

im really inspired by this

Hi friend, I wanted to know how is the workflow with the BCF 2000 regarding to changing from Midi CC to mixing. Do you press a button to change between the two modes or how does it work? Thanks

tu pues la merde comme compositeur et comme auteur

I don't know why this doesn't have more comments! For that Tame Impala vibe the new school of music is turning back to, your drum samples might be all that we need haha. Cheers, and thanks for sharing!

Hey what keyboard is he using? Sounds lovely 😍

Love this. Thanks for sharing. Random question for anyone who knows - my libraries are BIG and my PC struggles to run them without crashing Kontakt or my DAW. I have a very powerful custom built PC (latest intel processor, rtx 3080, 64g ram) and wondering what I'm missing. I've searched online and have not found an answer. How do you have SO many instruments lined up in Logic and it not crash?

FREAKING beautiful.

I need something with actual an midi input (no usb), and individual midi channel per input. Faderfox devices might work, but they are not cheap... Any other suggestions? I also found Ann's Tweed controllers which are cheap and have din midi but no indiviual midi channel I think.

most of the sounds are pads,they have nothing to do with a guitar sound

amazing

Really cool to see some behind the scenes from creating a library!

Excellent video. I am new to Westwood (being a fan of the big players - Arturia and NI) - but these Lost instruments sound fantastic and on sale for half-price at the moment. Don't know whether to get this one, Lost Keys or the new guitar library! Choices eh?

A bit late to the party here. Thanks Dan for this insight. I recently purchased the Core version and love it! I've been exploring your libraries too and have to say you're doing a great job!

love this!

This is so cool instrument. Well done!! I have some ideas for collaboration too. I will send my thoughts through your website contact form.

Michael GIACCHINO Isolated Score 💯 Mile Dash

This library sounds beautiful, but I have an issue that I don't know how to fix: I can only select soft string spurs, I can't switch to the other articulations (I just click on them, increase dynamics and suddenly it jumps to soft string spurs again). Maybe it is some bad configuration in my devices? Does anybody know how to solve this problem?

Great work Dan. I really love the chasing bits of the music. So good 😃

I am assuming since you have 5 tracks of violin 1 (and same with other instruments), they were adjusted to sound different? If so, what did you do to make them different in the context of just 5 violin 1s?

Can't get a particularly 'dry' sound, even with reverb completely off.

Bruh what a review, I'm talking serious, your honesty really clarified my thoughs

If I learned one thing from this, it is that dynamics is emotion

4:28+ My two-penn'orth on scoring without key signatures: in 55 years of playing, I have *never* seen key-signatureless orchestral parts - including session parts - *except* for French Horns, which vary. One of the first thing an orchestral player learns is to read the key signature and remember it. That is *never* an issue. Horn players cope quite happily with whatever they get given. However, there are things that the score-preparer or orchestrator needs to know that will make the player's life infinitely easier: *Always* make key signature changes clear and obvious: a good way is to use double barlines at that point, as a double bar line attracts the player's attention.. If your key signature change falls at the beginning of a line, *always* completely cancel the existing key signature at the end of the previous line. Some experts say that you should always cancel the previous key signature wherever the change occurs. Other experts say you don't need to cancel most changes, but you do need to cancel others - which is confusing tor the orchestrator. My suggestion - which is the one that I come across 99% of the time - is simple and consistent. If you have an out-of-key accidental in a bar & the next occurrence of the note is in the next bar but with no accidental, *always* indicate what the note that you want actually is in that next bar. In my experience, amateur players will never notice that the next note is not the same as the previous note. For example, the key signature is C major. In one bar you have F#, but in the next bar you want an F natural: *always* mark that 2nd note with a natural, otherwise a lot of players will play another F#... If you are using out-of-key accidentals, *please* make them relevant to the actual key signature. Some scoring programs default to sharps, when flats are needed.... These are the principles I use in my own scores, and I have never had a complaint next. About the notes - yes. About how they are displayed - no.

Bit too close mate 💀

I’m running fairly large sessions (almost every session is around 100+ tracks). In my current MacBook I have to try so many times to get the session played properly. (Even after freezing some tracks) so I would really like someone’s opinion on this.

however i reckon the bfc2000 comes with some software which can change the cc values on the bfc itself

no one explained tihs. I was looking for this, and found so many vague explanations. LEgend you are.

18:54 mans though someone was knocking lmao

This video is so good. You’re so good at explaining things. Very clear and straight to the point! Thank you!

You Still Ride with Spitfire ?

This will change EVERYTHING for composers like Hans Zimmer and John Williams. Can't wait for massive recorder scores from now on!

4 voices ,a joke off to get a deepmind 6 for less doe

Do you still work with/for Spitfire? This is a great video man

please I would urge if you can deconstruct this template please

Sehr gut erklärt, Danke.👍

Great piece and awesome skills of course, but I would like to request that you explain at least a little bit what you are doing harmonically and so on in these videos. Otherwise it's just watching you play and advertise your products.

if the beatles wrote for orchestra - great stuff

Re orchestrator, yes I would be interested.

These are so incredible! This is an out there request, but theres a part of me that wishes you could someday make a Rhodes Mk1 piano library. I just feel like the way you record and script your instruments truly captures all the sensitivity, intimacy, character, and mellow quality of it. Just a suggestion. I feel like you could somehow make a rhodes that just hits in a better way than most other companies

Nice! I would have removed the sound effects at 01:09:33 It's confusing to the ear and sounds actually like a percussion mistake in the music

Very interesting stuff, with some great tips and work philosophy, thank you.The preset concept is intriguing. I'm so glad it works for you. In no way imaginable would it work for me right now, for too many reasons to go into. But, briefly, I need icons (poor eyesight) and I love icons, I need more reverbs, because I have so many reverbs ( Cinematic Rooms, Tai,Chi, Altiverb ( a must for me), Lexicons, Valhalla, etc,etc). And the list goes on, so... My "giant" 1800+ track, 144 FX bus template is based on Paul Thomson's, which I have subsequently customised. I don't use FX inserts within the stacks, per stack. To me, that's wasteful of CPU: hence more FX buses.All my FX are on buses, to which I send stacks, or sections, or anything. This also includes some section submixes, eg: drums/percussion, bass guitar, bass synth, synths, etc. Obviously, I wouldn't discount using inserts, too.I also use Logic Colourizer, which has reinvented the whole look of Logic in ways that are indescribably work-flow liberating. And now I have a Mac Studio M2 Ultra, with 192 GB RAM, to cope with this. No disrespect, but while you're still selecting your favourites etc, my fully fleshed-out (but unloaded) monster template has launched; in seven seconds, actually, if Logic is already opened. In addition to track stacks I use the excellent Logic Pro implementation of not loading up software-instruments until they are selected. This means over 1800 carefully-chosen instruments, from orchestral/acoustic, through synths, guitars, the gamut of drums and percussion, choirs/vox, FX, etc.,etc., are there, ready to go at my command. If I select something that's not required later on, instead of having to reload the whole thing again, I simply purge all samples on that instance, recouping superfluous RAM. The whole empty template comes in at just under 1 GB. Not large, considering its complexity. It took me several months to create this template, with many aborted attempts. Oh, the pain, the pain! It was originally started on a late 2012 iMac, 32GB RAM (bless it) and there's no way I'm going to ditch all this effort; at least for now! Started on the iMac, but I knew I'd be moving up and wanted to be prepared.It's now finished (never, ever say that word), and extremely stable. You have a very, er ...keen sense of ergonomics and workflow, which I admire. Excellent presentation!

"higgledy-piggledy"...respect.

Hi, great work ! What plugin did you have on your both bus verb ? Thanks you

funny - since they went commercial, there are mostly boring sample sets to be found on this former creative palce...

great work congratulations. not sure for this project still available in your archive but if it it, would you share your reverb and mixbus plugins' settings. thank you for advance