So to summarise the past couple of paragraphs: temp things out get your post team to approve your temp make changes get approval lock it in orchestrate and tempo-rule out the temp piano. This lets me figure out what feels right to hit “hit points” and figure out the precise tempo I need later to achieve this. So changing tempo is as simple as playing something new at a different tempo and not worrying too much about precisely timing note starts etc.
The reason, however, for not spending the time orchestrating it in the first place is because if they don’t, most importantly, like the tempo I am working at, it is easier to change that by temping it in a piano since I don’t use a tempo ruler while temping. In those cases, I will spend the time orchestrating it out for them so they get the idea that I am trying to convey. Notably, sometimes the post team will not really grasp what I am trying to convey to them musically from just a piano. Once they are happy with the way the ideas are sounding (with some trepidation), I will spend the time to properly orchestrate it out. There is usually a bit of unease around the piano temp because it usually doesn’t sound quite right (or in some cases really not right), but I let the team know that I’m looking more for their thoughts on the melodies, accompaniment, and structure rather than the way it sounds. I find this is a crucial step as it has helped reduce the number of changes I have to deal with later on because the rest of the team really did not like the idea I am working with. Once things are temped out on piano, this is the first time that a producer, music super, or director will listen to what I have written. So temping it out in piano gives me more flexibility by simply not having as much to worry about changing as changes are guaranteed to come. Changes to how things are structured and where things are against picture most assuredly will change. If I’m working on a project that does have video, then I can easily move the piano around and change just this one instrument rather than trying to fix a whole orchestra of MIDI all in one go. I can leave that until later when I have the time to fully realize the orchestration I’m hearing in my head. If I am working on a project that doesn’t have pictures, this lets me more quickly compose without the need to fully orchestrate things out.
Starting by temping with a piano has two benefits. Once the template has generated my new session, I will import whatever video/picture I am working against (if any) and start temping out on piano and finding a flow to whatever I am working on. This template frees me from needing to worry about a lot of both tedious and complicated setups that I would otherwise need to recreate perfectly every time.
Pro tools 12.7 input no signal pro#
This is of course not unique to Pro Tools, but I find it integral to creating quickly and efficiently in Pro Tools (or any DAW for that matter). When starting a composition project, I start with my template. Here though, I’d like to share some of the techniques and tips I have “discovered” when working in Pro Tools for MIDI orchestration, and some big benefits of working in Pro Tools that you may not be able to have in other DAWs. The workflow of MIDI inside Cubase is much simpler to use. I have used Cubase in the past, and this is certainly one of the biggest things I miss from my days using Cubase. The reason for this is because most composers who have graciously shared their time in creating content work in either Steinberg’s Cubase or Apple’s Logic Pro, both of which I will admit seem to be far more ergonomic than Pro Tools, is at this specific task of MIDI/DAW composition/orchestration.
Pro tools 12.7 input no signal how to#
What is lacking though is how to do this more effectively in Pro Tools. There is a lot of information out there on MIDI composition and orchestration on topics from the technical minutia of writing CC automation more effectively to broader scopes on general techniques and approaches to scoring in a DAW. It includes a detailed look at his own template, and why he thinks you should build your own template. Composing in Pro Tools, what is it like? In this article, composer Walter Everton, shares some of his tips and tricks he has found out the hard way.
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