Jun 08, 2020
Today concludes Jordan Rees' and Ty Cerdd's 'Creating Orchestral Mockups' scheme, bringing together all parts of the musical landscape into one project combining both traditional notational work and electronics. What makes working with notation through electronics/samples so exciting to me is when these two worlds collide, and there's real opportunity to make something new and fresh that isn't possible in real life with a full orchestra. This scheme has been a fantastic opportunity over the past five weeks. Throughout this scheme I worked on a narrative driven piece - 11.22.63 - following the events of the Kennedy Assassination. The first couple of weeks were focused on the compositional side of the project, exploring new options regarding sound design and building Kontakt instruments, then the last few weeks were focused on production and the finer details which are so important when creating a piece with the intention of it being widely listened to. Throughout the sessions one element we looked at was my work in collaboration with sampler company Native Instruments, how I can explore this in the future and how best to approach sound design to create new and innovative textures. Below shows the virtual instrument I made which is publicly available to download for anyone who listens to the piece. Within the week of session five we worked with mastering engineer Nick Cooke, who talked about the subtle details of how he had altered my piece. It was really interesting to see how he worked and how much detail can go into how a piece sounds, not just the notes on the page. In my final session with Jordan we looked at summarising what I learnt from this scheme and what I am going to be doing next to progress in my career and areas I could really develop to give me the best chance to succeed. This scheme was such a great opportunity for me to have. Jordan has proven to be very knowledgeable and a real pleasure to work with. To develop a track from start to finish with him has been really eye opening experience into the amount of finer detail that a track can use which all adds up to have a very large effect. Thank you very much to Jordan and Ty Cerdd for providing this opportunity and I very much look forward to similar schemes soon.