Really glad I found your channel, I've loved your music since I was a kid, and now as an amateur composer, always great to watch others create and learn from them. I've always been really impressed with a lot of your orchestration and ability to make a lot of older orchestral libraries sound authentic. Always wanted to ask, do you remember much about your work back in the early 2000s on Power Rangers Time Force, probably 2001-ish. Do you remember what went into that sort of production? Were you using early sample libraries, ROMplers, a real orchestra? I know you've mentioned using Spitfire libraries in some of your videos but I can't think of anything that was available at the time besides the Roland SR-JV80 Orchestral boards and libraries like Miroslav Vitous' orchestral samples. Would love to hear anything you remember about the work you did back then. Merry Christmas!
@@baroque4daysanti-gasequipm225 Thank you for the kind words, it means a lot to me. You are correct that the sample libraries at that time were still evolving. My work on Power Rangers was almost all sample based though there was the occasional real trumpet or percussion that I would add. The playback came from 3 rack-mounted Emulator 4XT and a Kurzwiel 2600 with the orchestral block. The samples at that time were a collection of samples from different companies and a custom set of samples that a group of composers had made for the shows we were working on. Some of the old libraries collecting dust on my shelves are the Kirk Hunter Virtuoso Strings, Dan Dean Brass, Denny Jaeger Master Violin, and a bunch of EIIIx Emulator sound libraries, even an old Sample Cell disc. I was also using the East West Quantum Leap Symphonic Orchestra, but that may have come at the end of my time on Power Rangers. After that I moved to four custom rack mount computers for sample playback controlled by a Mac. It was probably the first setup to use optical cables to rout the audio, it was all very new and no one knew if it would work until the final push of the power button. I originally came from a world of all real players and brought that type of writing to the sample based scores. Though the turnaround times were very quick and I only had time to scratch out a sketch of the music before recording began, I still tried to play the parts in as if there were real players. Samples have come a long way since then, especially from my first Emulator 1 with sounds on a 5 1/4” floppy. At some point I’ll do a video about composing in the style of some of those shows. Merry Christmas and keep composing!
@@GlennScottLacey That's incredible, I wasn't expecting such a reply. This is fascinating, I am very grateful. I've been working with EWSO's successor, EW Hollywood Orchestra, for close to a decade now and have always been quite happy with the extensive amount of articulations and expressive control sometimes absent in the new wave of libraries. I do still have much love for the older samples now so will probably have a look into some of these. I've personally got a Roland XV-5080 with the Orchestral expansion which doesn't sound remotely realistic but there's a lot of character in those samples. I'd be very interested in a video on writing in that sort of style, you did some exceptional work back then. Took a lot of listening to notice a few giveaways that made it clear it was samples in use, I'd always thought it was far too good to be samples. The orchestration in there always seemed remarkable. Probably some of the earliest examples of exposure to cinematic music that made me want to write my own. One other question if you have time, in terms of credits, on Power Rangers in particular, I've seen Inon Zur and Lior Rosner's names thrown around a lot in the credits. Were the three of you writing different parts of the score or was there something else to that?
@@baroque4daysanti-gasequipm225 That’s so nice to hear that the music inspired you. For me, it was the music in the cartoons I loved as a kid and the scores of Carl Stalling. For Power Rangers I started by doing cues here and there for earlier shows, that was usually because of some scheduling or time pressure reason. Then I became the composer for the show starting with the Time Force season until I moved on to another show. The composers before me were very talented and really developed the sound of the series. I agree that some of the sounds from the old libraries still hold up, you can get a lot out of any sample library once you learn its strengths. One sample library I’ve been looking forward to is Vista II from Performance Samples. When it is released I’ll probably buy it, from the early demos I’ve heard it’s very expressive and realistic.
@@GlennScottLacey Just watched the demo, it does sound very expressive. Certainly one of the benefits of new libraries if they get the expression right. As such as I love the older EastWest sound, the expression does show its age sometimes. Also unfortuntely I believe a few of the solo brass patches have some irritating recording clicks in the samples. I imagine these are fixed with the Opus versions though.
This was FANTASTIC! Loved how you harmonized the original and now the Final product blew me out of the waters! It would be nice to use the final for full orchestra.🎶
This was packed chock-full of so many great techniques. I’m definitely going to have to watch this a few more times. Love this inspirational technique. I would love to know how the melody writing went. Was it made easier having such a strong harmonic structure? Thanks again and Merry Heistmas.
@@CharlesScalfani Merry Heistmas to you! The melody came very quickly because I had been working with those chords during the day. I took a little break before writing the melody so the original wasn’t song planted in my head and then started singing over the chords until I found a melody that stuck.
Really glad I found your channel, I've loved your music since I was a kid, and now as an amateur composer, always great to watch others create and learn from them.
I've always been really impressed with a lot of your orchestration and ability to make a lot of older orchestral libraries sound authentic. Always wanted to ask, do you remember much about your work back in the early 2000s on Power Rangers Time Force, probably 2001-ish. Do you remember what went into that sort of production? Were you using early sample libraries, ROMplers, a real orchestra? I know you've mentioned using Spitfire libraries in some of your videos but I can't think of anything that was available at the time besides the Roland SR-JV80 Orchestral boards and libraries like Miroslav Vitous' orchestral samples. Would love to hear anything you remember about the work you did back then.
Merry Christmas!
@@baroque4daysanti-gasequipm225 Thank you for the kind words, it means a lot to me. You are correct that the sample libraries at that time were still evolving. My work on Power Rangers was almost all sample based though there was the occasional real trumpet or percussion that I would add. The playback came from 3 rack-mounted Emulator 4XT and a Kurzwiel 2600 with the orchestral block. The samples at that time were a collection of samples from different companies and a custom set of samples that a group of composers had made for the shows we were working on. Some of the old libraries collecting dust on my shelves are the Kirk Hunter Virtuoso Strings, Dan Dean Brass, Denny Jaeger Master Violin, and a bunch of EIIIx Emulator sound libraries, even an old Sample Cell disc. I was also using the East West Quantum Leap Symphonic Orchestra, but that may have come at the end of my time on Power Rangers. After that I moved to four custom rack mount computers for sample playback controlled by a Mac. It was probably the first setup to use optical cables to rout the audio, it was all very new and no one knew if it would work until the final push of the power button. I originally came from a world of all real players and brought that type of writing to the sample based scores. Though the turnaround times were very quick and I only had time to scratch out a sketch of the music before recording began, I still tried to play the parts in as if there were real players. Samples have come a long way since then, especially from my first Emulator 1 with sounds on a 5 1/4” floppy. At some point I’ll do a video about composing in the style of some of those shows. Merry Christmas and keep composing!
@@GlennScottLacey That's incredible, I wasn't expecting such a reply. This is fascinating, I am very grateful. I've been working with EWSO's successor, EW Hollywood Orchestra, for close to a decade now and have always been quite happy with the extensive amount of articulations and expressive control sometimes absent in the new wave of libraries.
I do still have much love for the older samples now so will probably have a look into some of these. I've personally got a Roland XV-5080 with the Orchestral expansion which doesn't sound remotely realistic but there's a lot of character in those samples.
I'd be very interested in a video on writing in that sort of style, you did some exceptional work back then. Took a lot of listening to notice a few giveaways that made it clear it was samples in use, I'd always thought it was far too good to be samples. The orchestration in there always seemed remarkable. Probably some of the earliest examples of exposure to cinematic music that made me want to write my own.
One other question if you have time, in terms of credits, on Power Rangers in particular, I've seen Inon Zur and Lior Rosner's names thrown around a lot in the credits. Were the three of you writing different parts of the score or was there something else to that?
@@baroque4daysanti-gasequipm225 That’s so nice to hear that the music inspired you. For me, it was the music in the cartoons I loved as a kid and the scores of Carl Stalling. For Power Rangers I started by doing cues here and there for earlier shows, that was usually because of some scheduling or time pressure reason. Then I became the composer for the show starting with the Time Force season until I moved on to another show. The composers before me were very talented and really developed the sound of the series. I agree that some of the sounds from the old libraries still hold up, you can get a lot out of any sample library once you learn its strengths. One sample library I’ve been looking forward to is Vista II from Performance Samples. When it is released I’ll probably buy it, from the early demos I’ve heard it’s very expressive and realistic.
@@GlennScottLacey Just watched the demo, it does sound very expressive. Certainly one of the benefits of new libraries if they get the expression right. As such as I love the older EastWest sound, the expression does show its age sometimes. Also unfortuntely I believe a few of the solo brass patches have some irritating recording clicks in the samples. I imagine these are fixed with the Opus versions though.
This was FANTASTIC! Loved how you harmonized the original and now the Final product blew me out of the waters! It would be nice to use the final for full orchestra.🎶
@@walterharley6049 Thank you Walter, I agree this would be a nice piece to set for orchestra. I’ll be sure to post it here when I do!
This was packed chock-full of so many great techniques. I’m definitely going to have to watch this a few more times.
Love this inspirational technique. I would love to know how the melody writing went. Was it made easier having such a strong harmonic structure?
Thanks again and Merry Heistmas.
@@CharlesScalfani Merry Heistmas to you! The melody came very quickly because I had been working with those chords during the day. I took a little break before writing the melody so the original wasn’t song planted in my head and then started singing over the chords until I found a melody that stuck.