![]() There are a couple of advantages here, but the main one is that it allows for ideas to be tried out easily before the expense of trying them out with a real orchestra. These days it's quite common for sampled demos to be used by editors to cut against while they're working on the film, or for showing previews to test audiences, before the final versions of the cues have been approved and performed by a real orchestra. As Hans himself has commented many times, using samples of real orchestral instruments is going to give a better impression than the composer sat at the piano going "but you know, this is going to sound great when the horns come in!" One of the reasons samples are so important in film music is that their use allows the director, and other people involved in the film-making process, such as the editor or producers, to hear how a piece of music (usually referred to as a cue) is going to sound against the film. In 2002, the original recordings were transferred again from the original DA88s, remastered and programmed natively into Tascam's Gigastudio, and these newly created versions still make up a large part of the palette five years on. Over the years, more samples were added to the library, and the library itself went through many conversions as more powerful samplers were released, such as Emu's E4. After the recordings had been edited, instruments were programmed for Hans' sampler of choice at the time, Roland's S760, which wasn't a bad option, considering that each unit took only 1U of rack space and Hans needed over 30 of them to play back the orchestra. Hans is well known for having created his own private collection of sampled orchestral instruments, and the core of this library was originally recorded back in 1994 onto eight-track digital Tascam DA88 format. It also led to Hans' day-to-day technical coordinator referring to the film as 'Samples of the Caribbean'. Pirates of the caribbean midi series#This resulted in arguably the most technically accomplished, realistic-sounding orchestral mock-ups ever created, and I think some of the best music written for the Pirates series so far. ![]() Just recently, while working on Pirates Of The Carribean III: At World's End, Hans decided he wanted to push our use of technology further than normal. I get to spend my days worrying about this issue, working for the film composer Hans Zimmer. So, when it works, music technology allows film composers to be creative, efficiently. And this is especially important when you have to be creative under a time pressure, as is usually the case in film music. Whether it's creating a new sound that inspires an idea, or working with a computer-aided orchestra that allows for more experimentation, technology can take a musician to more places creatively than they could otherwise explore. ![]() As painful, in fact, as it was to carry out such tasks before the technology came along in the first place.Īt the same time, technology can also help those working in film music to be more creative - or at least that's the hope. This complexity makes film musicians ever more reliant on technology for reasons of efficiency: so many tedious tasks need to be performed that it would be painful to consider having to do these things without the aid of technology. Not only does film music require all the usual elements of sequencing and recording, but there are the added complications of synchronisation, frame rates, submitting mixes to dub stages, and all sorts of nonsense that other musicians simply don't have to worry about. Creating the score for Pirates Of The Caribbean: At World's End required an incredible amount of music technology, and demonstrated why 64-bit computing offers new levels of realism for orchestral sample libraries.įilm music is perhaps the single area where music technology has its largest application. ![]()
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