I noticed a similar track-naming convention in Powell’s screen capture of his template - any chance that these two composers are using a template setup by someone else?
A lot my "on ivories" time is spent on an NI M32 nowadays. A lot more comfortable than doing gymnastics over 88 hammers all the time.Indeed. I’m almost embarrassed to admit most of my orchestral works, especially concert works, have been composed on a MacBook Air using Dorico and Sibelius with NP. And my keyboard is a Korg Microkey 49.
Exactly. Composing is like architecture- it takes a lot of tweaking and moving things around. It’s methodical. I still enjoy playing my Kurzweil for ideas but once they take hold it’s less about the keyboard and more about manipulating the notes in the daw or notation program.A lot my "on ivories" time is spent on an NI M32 nowadays. A lot more comfortable than doing gymnastics over 88 hammers all the time.
Ahah !I'm assuming that given it was for NI, he was going to showcase the NI / Kontakt instruments. You can get some sneak peaks at some of the other stuff he has though. Plus, since he's writing for the Avengers, probably can use those Damage drums!
Here's a screenshot of his track archive presets for example - lot of EWHO in there (do you think he's preordered Opus ):
View attachment 47876
Also was surprised to see him using an iMac. The second monitor for the slave was a Mac also, so it must be a Mac Pro, either a new or old one. But that's a setup I've never seen before.Having watched the video again, what strikes me is the ergonomics of the rig. Alan is sat quite high at the desk and everything is in easy reach, with the piano and manuscript a quick chair turn away. I think I might try this setup.
I have a little Korg Nano Key that's used exclusively for switching. Every track/patch is setup so the available switches automatically map to it on midi ch2 via Logic art maps. I tried iPads etc, but sometimes less options is more helpful..With the exception of piano work, the 61-key controller with some wheels/faders seems to be more easily manageable for libraries with heavy key switching than an 88. A drawback is having to create presets that put the ranges in the same octave to avoid flipping around with the controller's +/- octave keys -- always have been happy with it.
Side note, I cannot wait until I have 50 years (wow!) worth of experience making music with DAWs... I'm on 5 so far .
That's exactly how I felt and did. I am using an Arturia Keylab 49 mk2. Everything's within reach of my hands. And I am a classically-trained pianistSince orchestral composing is largely about independent lines, if you are putting things together in an old-school manner, most instruments do not have an 88 note range. Unless one needs real-time KS or is keyboard composing, 4 or 5 octaves is usually enough. Liszt used a 3 octave keyboard to compose... dude had no issues with his orchestral writing.. I''m seriously thinking of just moving down to a Arturia Keylab 49 or 61Mk2 when my Kurzweil dies.. and buy a Nord Grand just for composing on the old-fashioned way.
Same. Coming from a K2500 and S80. Keylab and a little Roli Seaboard and Lightblock on the side. Works like a charm.That's exactly how I felt and did. I am using an Arturia Keylab 49 mk2. Everything's within reach of my hands. And I am a classically-trained pianist
Btw, this honestly makes a lot of sense. My system probably is convoluted as hell in most eyes, but my key switches are arranged based off the old VSL VI player, where the up/down of the matrix was navigated by black keys and white keys moved the cursor left and right. I basically memorized common intervals (minor 6th, 5ths, etc) to land on certain articulations. In the Synchron Player, because of the tree structure, it is often hitting chords. A Dmaj7/F# triggers autospeed Detaches.I have a little Korg Nano Key that's used exclusively for switching.