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Creating Orchestral Mock-ups

A 5-week remote learning course on combining sound design and electronic material with acoustic music

Jonathan Daglish and Robert Singer were selected to take part in CoDI’s ‘Creating Orchestral Mock-ups’ scheme. The two composers each received a £300 commission to create a new 3-minute work using electronic production and virtual instruments and, under the expert guidance of Cardiff-based composer Jordan Rees, took their pieces from conception to completion over a five-week period during April and May 2020.

Over the course of five weekly meetings the Jonathan and Robert were taught the basics of creating a convincing orchestral mock-up and techniques which combine electronic music and sound design with acoustic material. Later sessions covered professional development.


We are extremely grateful to Jordan Rees for this fantastic opportunity. As well as giving his time and expertise for free, Jordan very generously offered a fee of £300 to each participant.

Jordan Rees has written extensively for film and television and won the ‘Best Soundtrack’ award at the British Horror Film festival. His music has been broadcast on BBC, ITV, SKY, HBO, MTV, Channel 4 and Channel 5 and his orchestral work has been recorded by the Hungarian Studio Symphony Orchestra, the English Session Orchestra, and the Sofia Session Orchestra. .

Jonathan Daglish: 11.22.63

On the 22nd November 1963 John F. Kennedy was assassinated, both destroying the innocence of the 1950’s and creating the distrust of the government that pervades through today. At a time of immense change – the Cold War, the first man in space and the Cuban Missile Crisis a year earlier in 1962 – a new precedent was set which shaped the world forever. Take a step back into history and explore the events leading up to the Kennedy Assassination in ‘11.22.63’. The piece is broken up into 7 sections, covering the stories of Lee Harvey Oswald, John F. Kennedy and the events that surrounded them leading up to the assassination.

Robert Singer: TV Music for Futuristic Drama

This is a piece of television music for a futuristic drama. It uses atmospheric elements, motor rhythms and a central motive made from an electronic instrument to make the piece. Both electronic instruments are used together with orchestral ones to create the backdrop which helps to create both a futuristic feel, but also an emotive quality. The pieces is intended to sound ‘Visual’ through it’s use of highly textured sounds
The piece is designed to give the television editor a “tool Kit” of material to work with so that the music will always be able to achieve the mood or atmosphere that is required. Three sections (approximately a minute in length each), present the central motive in varying levels of intensity going from atmospheric, to motor movement, to maximum emotional intensity towards the end. This is to give the maximum emotional range possible.

Distortion and saturation play a big part in the colour of the piece, helping to give the feeling of adrenaline and power as well as gritty texture. The digital delay effect also plays a large part in creating the rhythmic movement of the piece, and is at the bass of the motor rhythms herd in section two which develops more in section 3. The orchestral sounds are also presented in a more processed state towards the end, with further use of distortion to help them blend with the electronic instruments.

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