Hi
I'm a beginner composer.
I'm looking for lessons , guides ,other people who are
interested in epic music.

My e mail is nordicthe@gmail.com

At 7/8/15 09:07 AM, Nordike wrote: Hi
I'm a beginner composer.
I'm looking for lessons , guides ,other people who are
interested in epic music.

My e mail is nordicthe@gmail.com

Horns. And more horns.... And more Hornss!!! Also add some horns to that.

At 7/8/15 10:32 AM, SmokeAvery wrote:

At 7/8/15 09:07 AM, Nordike wrote: Hi
I'm a beginner composer.
I'm looking for lessons , guides ,other people who are
interested in epic music.

My e mail is nordicthe@gmail.com

Horns. And more horns.... And more Hornss!!! Also add some horns to that.

LOL

At 7/8/15 10:41 AM, dem0lecule wrote:

At 7/8/15 10:32 AM, SmokeAvery wrote:

At 7/8/15 09:07 AM, Nordike wrote: Hi
I'm a beginner composer.
I'm looking for lessons , guides ,other people who are
interested in epic music.

My e mail is nordicthe@gmail.com

Horns. And more horns.... And more Hornss!!! Also add some horns to that.

Drop dat bass! I mean the contra bass!

Edit: The word epic is a very broad assumption of many different cinematic genres. Do you mean epic in term of massive orchestra with thunder taiko (@PeterSatera)? Perhaps classical orchestra with John Williams/Richard Wagner-esque (@Samulis)? Or a mix of both with rock-like beat and action phase (@Mattashi)?

You can choose a specific cinematic style and explore with them until you like one. Make it your own style so that your audience can recognize. All these composers I linked above have their own very unique style, and their music are "epic".

Hey

Yepp, you know the genere " in term of massive orchestra ".
I'm looking for tutorials in fields of cinematic style, or for other people interested in this field.
Maybe I'm not the only beginner...

At 7/8/15 12:34 PM, Nordike wrote: Yepp, you know the genere " in term of massive orchestra ".
I'm looking for tutorials in fields of cinematic style, or for other people interested in this field.
Maybe I'm not the only beginner...

You're beginner number 2 gajillion, welcome. :)

It's tricky to point to an exact starting spot, because we don't know much about what you know (if that makes any sense). For example, do you know anything about music theory? The notes on the piano? Scales? Chords? Formal Structure? How about instrumentation. Do you know the instruments of the orchestra? The families they are grouped in? Their ranges and best-sounding range?

To be an effective (but not guaranteed good) composer, you will need to learn these sorts of things. I taught myself at first, simply by many long hours of trial-and-error experimenting, but later learned a lot of what I know thanks to a mix of formal education, tutoring, and just plain curiosity. I, and I am sure, many of us, would be glad to tutor you specifically in the basics of composing (writing music) and orchestrating (using the instruments of the orchestra), or you could take music theory classes in your high school or college.

The first rule you encounter in music is that there is never "one correct way" to do something (at least, not nowadays). There may be one way which is typically more effective, but it would be hard to write a meaningful tutorial, because there are simply too many exceptions. Learning music is like learning to cook. Your teacher(s) can give you many recipes, and teach you how to combine different elements of flavor to balance them and create a good tasting dish, but you will have to experiment, and be willing to experiment, in order to find your own style of cooking (or composing) to your tastes. As said above, there are countless dozens of slightly different branches of "cinematic" music, from straight "epic trailer" material to quirky post-modern stuff to "classic" cinematic stuff and more, and with focus, you could learn any or all of those angles. We have a sizable "cinematic" community here, and I'd like to say between all of us, we have just about all the angles covered. :D

So, if you wouldn't mind, tell us a bit more about your musical background. Then we can better realize how to help you. :)

Edit: The word epic is a very broad assumption of many different cinematic genres. Do you mean epic in term of massive orchestra with thunder taiko (@PeterSatera)? Perhaps classical orchestra with John Williams/Richard Wagner-esque (@Samulis)? Or a mix of both with rock-like beat and action phase (@Mattashi)?

You can choose a specific cinematic style and explore with them until you like one. Make it your own style so that your audience can recognize. All these composers I linked above have their own very unique style, and their music are "epic".

When I Label something Epic im talking about genre, some people get it twisted and think im saying "My track is the most Epic" then I get 1 bombed

But on the real though, I'm still learning and im getting better everyday. Sit there and listen to everything. And see how you can combine things. Sit there and come up with a tune. Sometimes within that tune your music mind can feel another rhythm that can fit. Next thing you know you take that second rhythm you discovered and made it its own track.

When I Label something Epic im talking about genre, some people get it twisted and think im saying "My track is the most Epic" then I get 1 bombed

Well I guess "Epic" is a modern label for cinematic music.
Usually I don't like labels, but in this case I did.

At 7/8/15 02:10 PM, SmokeAvery wrote: But on the real though, I'm still learning and im getting better everyday. Sit there and listen to everything. And see how you can combine things. Sit there and come up with a tune. Sometimes within that tune your music mind can feel another rhythm that can fit. Next thing you know you take that second rhythm you discovered and made it its own track.

Thanks for your advice. Yeah the ritm and beat is defining the " epic" style.
I'm in the stage now to learn cubase, a real starter if you know what I mean.

At 7/8/15 12:45 PM, samulis wrote:

At 7/8/15 12:34 PM, Nordike wrote: Yepp, you know the genere " in term of massive orchestra ".
I'm looking for tutorials in fields of cinematic style, or for other people interested in this field.
Maybe I'm not the only beginner...

You're beginner number 2 gajillion, welcome. :)

It's tricky to point to an exact starting spot, because we don't know much about what you know (if that makes any sense). For example, do you know anything about music theory? The notes on the piano? Scales? Chords? Formal Structure? How about instrumentation. Do you know the instruments of the orchestra? The families they are grouped in? Their ranges and best-sounding range?

To be an effective (but not guaranteed good) composer, you will need to learn these sorts of things. I taught myself at first, simply by many long hours of trial-and-error experimenting, but later learned a lot of what I know thanks to a mix of formal education, tutoring, and just plain curiosity. I, and I am sure, many of us, would be glad to tutor you specifically in the basics of composing (writing music) and orchestrating (using the instruments of the orchestra), or you could take music theory classes in your high school or college.

The first rule you encounter in music is that there is never "one correct way" to do something (at least, not nowadays). There may be one way which is typically more effective, but it would be hard to write a meaningful tutorial, because there are simply too many exceptions. Learning music is like learning to cook. Your teacher(s) can give you many recipes, and teach you how to combine different elements of flavor to balance them and create a good tasting dish, but you will have to experiment, and be willing to experiment, in order to find your own style of cooking (or composing) to your tastes. As said above, there are countless dozens of slightly different branches of "cinematic" music, from straight "epic trailer" material to quirky post-modern stuff to "classic" cinematic stuff and more, and with focus, you could learn any or all of those angles. We have a sizable "cinematic" community here, and I'd like to say between all of us, we have just about all the angles covered. :D

So, if you wouldn't mind, tell us a bit more about your musical background. Then we can better realize how to help you. :)

Hello samulis !

I know for start some stuff about music.
I play the piano (acceptable) and do have a general knoledge about music and orchestra.
Wasn't a big fan of music teory so, that's not my strength.
On google there are some music teory lessons for free, but is isn't motivational to start work joust lrearning that.
This week I'll have my keystation, so I'm ready for the first step.
I did instal cubase, and have also kontact 5.
On youtube there are more tuts for apple, I think logic pro is the most used program. Do you know why?
Fruity loops seems to be moore easy than cubase, but there are less tutorials for it...
And Fruity loops is free, Cubase is on trial use for 30 days....
So yeah this is my stage for now.

At 7/9/15 02:55 AM, Nordike wrote: I know for start some stuff about music.
I play the piano (acceptable) and do have a general knoledge about music and orchestra.
Wasn't a big fan of music teory so, that's not my strength.
On google there are some music teory lessons for free, but is isn't motivational to start work joust lrearning that.

Well, the basic principles for writing "epic music" are pretty much the same as they are for any genre: you write down a melody, and you combine it with harmonic elements.

It's quite hard to grasp what exactly it is that you want to hear from us. What parts of the production process specifically do you need help with?

This guide gives a pretty good idea of what you can do to write an epic track. Also check this out if you want some more mix-related information.

I did instal cubase, and have also kontact 5.

In addition, you might want to consider getting a dedicated orchestral library (e.g. Vienna Symphonic Library or the stuff by East West / Quantum Leap).

On youtube there are more tuts for apple, I think logic pro is the most used program. Do you know why?

Probably because it's an industry standard (like Pro Tools). It's perfectly fine to use a different DAW, though (I use Reaper).

At 7/9/15 08:37 AM, EagleGuard wrote: This guide gives a pretty good idea of what you can do to write an epic track.

It's a decent guide, but the orchestration advice is terribly limited, borderline inaccurate (I actually took the time to write corrections relevant to writing for brass, it bothered me so much, but I am not sure if the author added them) and it is forced by nature of the subject to be so general at times that it's almost more of a "manifesto" of cinematic than a tutorial. I fear using it as a basis for learning to write epic music will more tie your hands than open your mind.

Getting a standard orchestral library is no minor matter either. The basic one in Kontakt 5 is passable, but you wouldn't want to use it for serious composing... for now it'll probably do though. As EagleGuard says, EWQL SO is a common and fine option. There are also introductory libraries by ProjectSam, 8dio, Cinesamples, and countless others. You may want to zoom through kvr.com when it comes time to pick out a library and look at the options.

@Nordike, a lot of people make the mistake of scoffing at theory or nuance in music, or saying that just a very basic understanding is all they need. As someone who has gone so far as to take secondary education specifically in the matter, that's not true at all. As I learn more about how the pieces I create function, I've unlocked new abilities to make my pieces more intriguing and catchy than ever before. It also helps me better communicate my work to others, and adapt what people (i.e. clients) tell me (e.g. "make it sound sad") so that I can make my music work for their needs.

If you'd like, I'd be willing to go over some of the theory and orchestration stuff with you on skype (call or just text is fine). I've helped a number of people learn to write music from nothing more than basic keyboard skills to writing full pieces and using theory to enhance the composition of their piece. It'd be a chill, more exploratory thing... take an opportunity to figure you what you want to learn about and focus on that. I've personally tried everything from individual study to web courses to physical classrooms to mentors, I've found a 1-on-1 with no set curriculum to be the best way to learn.

There are also a number of other people here on NG that you might want to try chatting with. People like Breed and MaestroRage know a lot about the business aspects of composing for games, while people like Step, Camoshark, PeterSatera, and countless others can all give you valuable advice on everything from little instrumentation tricks to using tensions effectively (instead of just Chord Clusterfuck or I-vi-IV-V'n it up). You don't need to drag yourself through web tutorials when there's a whole community out there who each could help you out specifically in what you want.

If you're interested, my skype is lord-samulis. Perhaps I can introduce you to a few other NG composers in the process. :)

At 7/9/15 12:44 PM, samulis wrote: It's a decent guide, but the orchestration advice is terribly limited, borderline inaccurate (I actually took the time to write corrections relevant to writing for brass, it bothered me so much, but I am not sure if the author added them) and it is forced by nature of the subject to be so general at times that it's almost more of a "manifesto" of cinematic than a tutorial.

I fully agree; your comments on the brass were spot on! That said, the guide does focus on the type of "cookie cutter" epic music that a lot of people like to hear these days, so I thought it would be fitting to post it here (especially since the OP isn't as advanced when it comes to orchestral writing).

Naturally a more in-depth read on orchestration would be a lot better, but it can be quite intimidating as well.

At 7/9/15 02:35 PM, EagleGuard wrote: I fully agree; your comments on the brass were spot on! That said, the guide does focus on the type of "cookie cutter" epic music that a lot of people like to hear these days, so I thought it would be fitting to post it here (especially since the OP isn't as advanced when it comes to orchestral writing).

Naturally a more in-depth read on orchestration would be a lot better, but it can be quite intimidating as well.

Totally true! I just don't want to see someone potentially limited by their resources. It sure as heck irked me when I first started and had nothing more than a printout of how to spell common chords on the keyboard. I found I learned a lot more from my collabs with people like Bosa and Dem0lecule and continuous inquiries to folks like MaestroRage, Camoshark, and Skyewint, than I did from all the books and tutorials I've read. While they can be a huge help, especially in learning something roughly or picking up some starter tricks, I gotta say, real learning means talking to folks. :)

Hey Nordike, unfortunately I'm a bit mobbed with work currently, however I'm sure we'd all be willing to point you in the right direction, and give you tips and hints to get you on your way.

I agree with the comments above, Sam, dem0lecule and many others make very good points, as they are well educated. Theory is very helpful, understanding the orchestra is a must, and having a very keen ear to dissect music is what I find helps me improve and push myself to reach new heights. For me, I started in my childhood playing Trombone, learning to read Bass Clef music first, then onto Treble Clef when moving to keyboard etc. It was a great experience to play a brass instrument as it meant inclusion of other orchestral instruments. Learning how others play and work. So if you're unsure about an instrument then research it a bit, I suggest looking at Michael Patti's Composer workshop interviews. They are very good at helping you understand how the players play, and what difficulties they can run into. This creates a mind set of how to write your music so you can understand breaths, pauses, runs, player fatigues and general note possibilities, if you're looking to compose with a realistic mindset.

Composer's Workshop Interviews
https://www.youtube.com/playlist?list=PLBJhxpLkn6a6fgCfDZYOuGKLC_nbj8Dsg

There are also walkthroughs of Patti doing that "Epic" type of track. Here's one of them:
https://www.youtube.com/watch?v=MWmk62AMBcs

So his cinesamples channel is worth the watch.

Personally I am probably a better producer than I am composer, and have tailored my Newgrounds stuff to be run in line with that format, (although I have done other genres). The "Epic" style is veryin right now. This bigger than life orchestral can be very fun to create but it's simple in the likes of composition. Blakus (Blake Robinson) recently scored The Hobbit Trailer: Armies, Dragons and Rings. His stuff is excellent to watch. He talks about how composing these huge trailer like scores for Really Slow Motion, and massive orchestral moments is like making pop music, due to it's repetitious and climatic journey.

So another to take a look at is Blakus, he's a great guy too:
https://www.youtube.com/watch?v=fJ1gMpxkVY0

I've spoke to Daniel James a few times, he's a stand up guy, and does fantastic walkthroughs of libraries. However, even though they are lib walkthroughs, you can learn a lot from watching his work flows, adopting similar methods into FL Studio (which I still use). He's recently had his first film credit (terminator genisys, working along Lorne Balfe) as he is very much a hybrid composer. Mixing synth and orchestral elements, which is very common among the huge orchestral stuff.
https://www.youtube.com/user/dazexus

JunkieXL, Tom Holkenborg's Studio Time is a great watch! Recently Ive been posting these to my news. Junkie has been kind enough to walk through his process for scoring Mad Max, which is another huge score. Complex not in composition, but certainly in production, he's in the process of putting up some awesome tutorial vids which can show a lot to learn from. Although Tom works differently from Hans, his workflows have similarities. So if youre interesting in producing that big sound. Check them out here:
https://www.youtube.com/user/junkiexlofficial/videos

There are also master classes which are great, as well as watch the round tables from THR for great inspiration.
Rond tables:
https://www.youtube.com/watch?v=gSAF9_ZHjfc

Master Classes which can be found here:
https://www.youtube.com/user/FMMFilmMusicMedia

There's so much more, you can look for, Library creators tend to do videos, and there's loads of composer interviews from the likes of Brian Tyler, Silvestri, Williams etc. To me this music isn't about creating the most complex compositions. It's not about showing how many runs or chord structures you know, or how many key and tempo changes you can do. Although the fundamentals are important and arguably vital, music to me is all about the feeling, emotion, mood and purpose. "Epic" orchestral is purpose driven music with a tendency to be created to support a visual medium. Working in tandem with sync points or driving visuals sync points (trailer music). So ultimately my inspirations are driven by scenarios and narratives from multiple sources. As Elmer Bernstein says, “The dirty little secret is that we’re not musicians – we’re dramatists.”

Everyone has their own view on orchestral and hybrid orchestral, and they are entitled to their opinion because music is a very personal and subjective thing. I'm not a purist though, and lately big orchestral compositions have latched onto hybrid workflows utilizing synths, which in the grand scale of things. Is still a very young technology compared to the likes of a the commercial piano which has been around since the mid 1700's. So never be afraid to experiment and enjoy and embrace the medium.

=D

1. What daw do you use?
2. Consider getting Drums Of War2 if you want to make cinematic intense scores
3. GET A KEYBOARD it helps

At 7/9/15 08:05 PM, dem0lecule wrote: Why not spend less on SD2 (sales, of course) with more instruments. DoW 2 is overrated.

Edit: EastWest have 50% sales like thrice annually. Spring, summer and winter.

Many people dont know it - but its golden: World Percussion by evolutionseries:
http://evolutionseries.com/

IMO VERY strong. They often have got 50% off sales and the instruments have a very nice sound. But i stil agree with you that SD2 pro stil is a very good tool to have - even it is quite old already. Stil highly useful!

At 7/9/15 08:05 PM, dem0lecule wrote:

At 7/9/15 08:00 PM, Miguel-is-cool wrote: 1. What daw do you use?
2. Consider getting Drums Of War2 if you want to make cinematic intense scores
3. GET A KEYBOARD it helps

Why not spend less on SD2 (sales, of course) with more instruments. DoW 2 is overrated.

Edit: EastWest have 50% sales like thrice annually. Spring, summer and winter.

I'll check that out, I've heard about it but never thought about getting it.

It's quite hard to grasp what exactly it is that you want to hear from us. What parts of the production process specifically do you need help with?

Wasn't sure about what program should I use for a beginner, checking out some tuts for fruity loops.
I'm familiar with Adobe Premiere, this is a sound and video editing app, this is the only app I know that includes sound editing.
I'll check out the Reaper app to, let's see some tuts for that to.
Thanks for your link .
I have now a 8Dio Adagio string library, for start.

Hey !

Don't worry I'll check out the music theory part to, before work.
It's good to know a lot of people who have the same passion for orchestrated music.
For start I like to see/listen to video tuts; everybody has its own way of getting the knowledge, this is mine .
But if I have some questions ,it is always cool to know that you may know the answer.

Thanks for your time Peter!

The links you have shared here are new for me, and they all sound very interesting.
I'll keep you posting in my mind and check them out.

At 7/9/15 08:00 PM, Miguel-is-cool wrote: 1. What daw do you use?
2. Consider getting Drums Of War2 if you want to make cinematic intense scores
3. GET A KEYBOARD it helps

Thanks for the tipp. I have a new keyboard, actually it has 88 keyes it's a cool one :)

Great tipp, thnks .
Yepp the drum will be the next item on my list.
I heard there is a great difference between instruments.
Some libraries sound very vst like or like from out of the box.
I also read about dry instruments versus instruments with instruments with acoustics.
I'm a little bit foggy in this field...
For start I heard human voice recorded as dry voice and it sounds cold .
The ambience makes stuff moore real and present.
What is your oppinion?
I also read in a webpage that spitfire vst instruments are great.

At 7/13/15 02:04 PM, Nordike wrote: I also read about dry instruments versus instruments with instruments with acoustics.
I'm a little bit foggy in this field...
The ambience makes stuff moore real and present.
What is your oppinion?
I also read in a webpage that spitfire vst instruments are great.

Dry vs wet/ambient is very much a preference. A few years ago, dry libraries like VSL were generally considered better as they typically sounded "smoother", so someone who is very good at mixing could add a high quality reverb, mess with eq, ,delays etc to get each instrument in its proper position could get a very good sound. These days however, it is much more of a debate on whether dry or ambient is better. This is probably due to companies having more experience in recording, and users having more powerful PCs allowing for more complex scripting. Most people (that I know) say that ambient is better today due to it sounding better out of the box.

So again, it's preference. The main advantage I know of for dry libraries (eg: VSL) is that you can mold the sound to however you like. If you want to make your song sound more intimate with a more vintage recording sound, you can do that. If you want a more modern film score sound, you can do that too. You can also put the instruments into any room you want, but you have to work to make things sound right.

Ambient libraries like Spitfire sound great pretty much right away. The downside is that you can't really mold the sound quite as much. Spitfire, for example, is recorded at Air Lyndhurst in London. It's a great sounding room that has been used for many many film scores and recordings. However, it will always be in that room. Sure, they have a bunch of mic positions to choose from to help you alter the sound, but even the close mics are still going to have a taste of the room to it. Of course, if you like the sound of the room, this isn't necessarily a bad thing.
Also, if you end up with multiple libraries that were recorded in different rooms, it can be a pain to try to get them to sound like they are in the same space. So unless you bought all from one company, you would still need to put a bit of work to get things to sound just right (although probably still not quite as much as for dry libraries).

Regarding Spitfire, they are indeed very good, but also quite expensive. I own a few (Sable Strings, Albion 1 and 2), and I'm quite happy with them. They are very much a wet/ambient library, so if you were to hypothetically get the entire BML line, all you would have to do is match all the mic positions of each section and you'd be like 90% done with mixing to get a good orchestral sound. But again, the entire BML line you cost quite a lot of money. You would also have to think about technical limitations of your PC at that point as higher end orchestra libraries can get very resource hungry (especially with RAM).
The Albion series is a cheaper and less demanding alternative, but they are ensemble based meaning that instead of writing for individual instruments (eg just 1st Violins) , they are organized in clumps (eg: the String High patch is 1st Vln, 2nd Vln, and Violas combined). In other words, you can't really write one part for just the 1st Violins. You would instead be writing that same part played by the 1st and 2nd Vlns and the Violas simultaneously. This might not be a big deal depending on how someone likes to write their music, but for others it's a no-no.

With that said, there are other companies besides Spitfire. If you are just starting out, I would also consider what @dem0lecule said about going with East-west Symphonic Orchestra. Its quite old, but it still sounds nice and is super cheap and resource friendly and comes with pretty much everything you need. I believe it would be considered a more ambient library as well, so it should sound pretty good right out of the box. Once you get more acquainted with writing for orchestra and figure out your workflow, then you can start thinking about more current and higher end libraries.

Learn everything you can. Music is obviously a huge topic and it's frustrating when all you want to do is create x y and z, but it's true when people say it's a lifelong pursuit. If everyone could create the score to The Lord of the Rings there wouldn't be a market.

There are a million places you can start. Everyone has their own ideas, but in the end everything ends up being related. I'd personally start with 4 part voice writing. You can learn basic harmonic theory and it's always fun to hear a bunch of notes playing together that just work! This can be a somewhat dry topic to start with, but find a book (or website) with some good examples, try them out, then test yourself by trying to do something new with each chapter. Going through the motions won't make you better...make sure that you really understand everything and ask for help when you don't get something. Sometimes putting a beat behind the basic exercises makes them a little more fun to work through.

If you can find someone who is just starting out to "spar" with, that can help. When I was first learning to patch in max/msp I had a friend who I would trade patches with. We'd send each other resources, and play this ongoing friendly game of trying to one up each other. More importantly, it gave me someone to talk with when I was trying to work something out. Perhaps having someone to trade 4 bar passages with from time to time might help.

Learning theory can be frustrating and you can absolutely write great music without it. That said, I personally find it helpful with figuring out why I like specific pieces of music, and figuring out how to write the stuff I hear in my head. That's just the way my mind works. To each his/her own.

And I echo what was already said...horns horns horns. French horns specifically are like the rockstar of the epic orchestral film score world.

Last word of advice, be humble, put your ego aside, and learn how to take constructive criticism. Music is an intimate practice and it can be hard to learn how to not take critiques personally. It's tough finding people willing to take the time to listen to your work and offer their advice, expertise, and help. Don't get pissed when this happens. Be grateful, try their ideas, and keep the ones you like.

At 7/9/15 08:37 AM, EagleGuard wrote:

At 7/9/15 02:55 AM, Nordike wrote: I know for start some stuff about music.
I play the piano (acceptable) and do have a general knoledge about music and orchestra.
Wasn't a big fan of music teory so, that's not my strength.
On google there are some music teory lessons for free, but is isn't motivational to start work joust lrearning that.

Well, the basic principles for writing "epic music" are pretty much the same as they are for any genre: you write down a melody, and you combine it with harmonic elements.

It's quite hard to grasp what exactly it is that you want to hear from us. What parts of the production process specifically do you need help with?

This guide gives a pretty good idea of what you can do to write an epic track. Also check this out if you want some more mix-related information.

I did instal cubase, and have also kontact 5.

In addition, you might want to consider getting a dedicated orchestral library (e.g. Vienna Symphonic Library or the stuff by East West / Quantum Leap).

On youtube there are more tuts for apple, I think logic pro is the most used program. Do you know why?

Probably because it's an industry standard (like Pro Tools). It's perfectly fine to use a different DAW, though (I use Reaper).

Hey EagleGuard!

I was cheking out the Vienna Symphonic Library .
Also was looking at VVienna Ensemble Pro 5 here. It has gerat reviews on youtube here.
On ther website they have a trial, but they don't give you a download even if you log in.
I was curious what is the awesome in this program? It's a little bit expensive.
I remained at cubase for a program, fruity loops is not for my taste, i think fruity is awesome for rap instrumentals or other genere.
I was also cheking out the music vst librarys.
If we don't care about the prices, what are the best music librarys at the moment?

At 7/9/15 08:00 PM, Miguel-is-cool wrote: 1. What daw do you use?
2. Consider getting Drums Of War2 if you want to make cinematic intense scores
3. GET A KEYBOARD it helps

I'll check it out.
Talking about drums, but not only in epic genere...what vst has the best refrence?

I like Hans Zimmer music.
Don't like Wagner's music , but have a gerat respect for his genius.

Yeah it's classic orchestral msuic reinvented for comercial use.

At 7/16/15 10:54 PM, dem0lecule wrote: There are two type of cinematic music.There is the baw (Hans Zimmer) and the soft baww (John Williams). What I referred is about electronic vs orchestra.

Yeah they are great both. I was thinking are there female composers who have succes? Or all the composers world is exclusive male?