Composers are often solitary, squirrelly, anti-social types, reluctant to share sensitive information. Like mixed drink recipes or trade secrets.
In my quest to have more time on the weekends, I started looking for ways to minimize my sound setup time when it comes to auditioning, loading and managing orchestral patches, sounds and articulations.
But there seems to be a lack of technical information regarding orchestral scoring templates and guidelines for setting up a “virtual orchestra” on a film composer’s computer to maximize efficiency. The main reason for this is that many working composers are afraid to share their “secrets” so that the rest of us don’t use them, get better than them and steal all their work.
Why is this? Well, composers are often solitary, squirrelly, anti-social types, reluctant to share sensitive information. Like mixed drink recipes or trade secrets. So the structure of their workflow and setup of their scoring templates is oft-hidden deep in the bowels of the intertubes, if out there at all. “No, you can’t see my tracklist. I’m telling Giaccino that you asked, waaaaaah...”
Composer and orchestrator Mike Patti is so kick-ass that he knows this will never happen. He’s also super cool, works for Cinesamples and likes to share.
Screencast 1 - Using Bidule and Digital Performer
Screencast 6 - Bidule / Digital Performer Update
Mike’s Tracklist
Mike Patti’s Tracklist
In his videos, Mike shows us his template up close and in-depth. Here is a captured montage of his entire tracklist [1] and Bidule Rewire setup.
Mike Patti’s Bidule Setup
More References
Lasse Enersen’s film scoring template Awesome, descriptive and transparent - complete with PNG screen caps!
Mike Patti’s YouTube Channel
