• Matthew Walker

DIGITAL ORCHESTRA | my jam.

One of the best ideas I took away from university was orchestrating a conversation. Imagining a collection of people, each voice representing an instrument, all with different ranges, tone, and character.

You then begin to think about the conversation itself. What's the tone of that? Is it a joyful chat? Or a mournful exchange of words?


Perhaps that conversation begins with 'one voice', then another joins, talking about the same thing (harmony), then maybe a response, in-and-out of the topic (call and response). You understand my point. Reflect musically what is organic.



You use the idea of a simple conversation to construct and reflect that in music - in composition, in the arrangement, and in the content.


I bossed this piece of work at university, and I enjoyed it. Ever since then, it's always stuck with me in the more orchestral works that I've spent time on. Ever since, I've been looking for the opportunity to really bring about the pieces in my head, but the challenge here lies in the tools that support my ideas...


Below is the official walk-through to the Spitfire Symphonic Orchestra (SSO). This, without doubt, has been the greatest library investment I ever made.




| STRENGTH IN DEPTH.


I've always known that I could produce beautiful contemporary orchestrations, but the tools and libraries I've used in the past just never offered the level of performance in articulation, customisation, and mic positions. Plus more.


The Spitfire Symphonic Orchestra is good. In fact, it's very very good. Am I endorsed by Spitfire to showcase their gear...? No. I made an investment, and can totally vouch for the quality and abilities that the library offers the user.


The main reason I'm blogging about this is that SSO has completely redefined a video game soundtrack that I'm currently working on. The cues (in the early days) were fine, and served their responsibilities just... well... fine - but I, and the soundtrack itself didn't want 'fine'. We wanted credibility in sound, in texture, and quality. Of course, it doesn't matter what high-end tools you use, as you still need to know your way around them, and too be able to write a solid piece of music, with strong composition and arrangement.



I wish I could share some of these pieces with you, but that would be telling before it's finished, and released. It's been quite a throw-back experience when putting this soundtrack together, and the emotional content is wrapped in so much of what I was feeling at the time, that I truthfully feel that it's one of my strongest works. If not the strongest to date.



The Spitfire Symphonic Orchestra is a worthy investment. It'll set you back some £'s, but if you're a serious professional, and want to produce digital orchestrations that blur the lines then it's worth your time and money.


Are the results on par with an actual orchestra played by humans. No. Of course not - but the end game here with SSO is top-tier in it's digital league.



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