In case you didn't know

[David Coscina 3]

Here is the link. While his answers are curt and to the point, it's nice to have a professional addressing some questions about film scoring, technology, influences. Powell is far and away my favorite composer from MV-RC

http://www.soundsonline-forums.com/forumdisplay.php?f=32

[Koray Savas 2,095]

Pretty neat. Thanks for sharing, I've never heard of this site.

[David Coscina 3]

Pretty neat. Thanks for sharing, I've never heard of this site.

It is a site for musicians who buy East West products which mostly specialize in orchestral libraries

if u peruse the site you will see that a lot of pros use their products.

[Henry B 49]

Most of the times, my scores are set exactly to a pre-recorded trackthat has been worked out as part of the way I write in the computer.And as most of the session work involves balancing and organizing theproduction of the music, my time is better spent with the engineers andfilmakers. When I do conduct, I always feel like a 3rd wheel. Themusicians don't really need to follow me and I speak to them directlythrough the headphones, as I would a single musician. This I can dofrom the relative safety of the control room.

This is one of the problems I have with modern film music. Click tracks lock musicians into tempi and discourage natural performance and expression. Yes, soloists are given free reign, but the orchestra usually performs rigidly. The misconception that conductors just wave their arms could not be less true. They are often essential to the performance of an orchestra. These studio musicians make do without a conductor because they are the best in their field, extremely accurate and able to sight read anything. However, they are given little to work with emotionally. What happened to the strings? Is vibrato just unacceptable in sections?