Jeremy Wiebe ComposerI composed this orchestral string music in the spring of 2016. Not long later, my Oma passed away, and we used this music at her funeral.
This track features primarily string orchestra, using 8dio's Agitato Grandiose Legato and Spitfire Audio's Evo Grid Strings. I also use East West's Cimbalon and Hollywood Orchestral Woodwind's flute. Evo Strings offers some beautiful string textures, and I find they help breathe life into midi orchestrations. Agitato is great for the faster moving string lines in this track.
Emotional Cinematic Music for Strings | Dramatic ScoreJeremy Wiebe Composer2016-04-16 | I composed this orchestral string music in the spring of 2016. Not long later, my Oma passed away, and we used this music at her funeral.
This track features primarily string orchestra, using 8dio's Agitato Grandiose Legato and Spitfire Audio's Evo Grid Strings. I also use East West's Cimbalon and Hollywood Orchestral Woodwind's flute. Evo Strings offers some beautiful string textures, and I find they help breathe life into midi orchestrations. Agitato is great for the faster moving string lines in this track.
Follow me on Twitter: twitter.com/WiebeMusicG W E I E | #OutsideCompetitionJeremy Wiebe Composer2020-05-25 | My submission for Orchestral Tools' #OutsideCompetition. I tried to write something that would convey the energy of new organic life. The Proto-Indo-European root *gweie-, meaning "to live," gave us 'quick' in English/Germanic, 'bio' in Greek and 'vivus' in Latin. The idea behind this piece is a plant seed germinating and quickening to life.
Follow me on Twitter: twitter.com/WiebeMusicM O R A ALTJeremy Wiebe Composer2020-05-13 | This is an alternative mix/arrangement of a piece I uploaded last week. It is more ambient than the original.
I've been in an ambient string writing mode lately. I've been able to explore other sides of some of the sample libraries I use, particularly the warped patches in Spitfire's Evo Strings libraries, which are great for layering with traditional string samples to create this kind of ambient sound.
Follow me on Twitter: twitter.com/WiebeMusicM O R A | Relaxing Ambient StringsJeremy Wiebe Composer2020-05-05 | I've been in an ambient string writing mode lately. I've been able to explore other sides of some of the sample libraries I use, particularly the warped patches in Spitfire's Evo Strings libraries, which are great for layering with traditional string samples to create this kind of ambient sound.
Follow me on Twitter: twitter.com/WiebeMusicJoe | OSTJeremy Wiebe Composer2020-04-29 | It was a pleasure collaborating with Rewatch Studios once again on this short film project. I hope you enjoy the film and this score, which has some upbeat, happy-go-lucky moments as well as some melo, dramatic string writing.
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Follow me on Twitter: twitter.com/WiebeMusicSoft Piano and Strings | DriftingJeremy Wiebe Composer2020-04-21 | This is the first track I wrote this year. It's a pretty simple piece, but hopefully relaxing and enjoyable.
Libraries used:
Spitfire Audio Felt Piano Spitfire Audio Apertures Spitfire Audio British Drama Toolkit Orchestral Tools Metropolis Ark II Cinesamples CinePerc
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Follow me on Twitter: twitter.com/WiebeMusicFantasy Orchestral Music | Forbidden SecretsJeremy Wiebe Composer2020-04-14 | Here's an original track I created last year. I used primarily Symphobia Lumina, which as I've mentioned is a great library. That said, I'm not super keen on this particular track I made, but I thought I'd upload it anyway and hopefully some of you will enjoy it.
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Follow me on Twitter: twitter.com/WiebeMusicAmbient Piano & Strings | IsolationJeremy Wiebe Composer2020-04-10 | I thought this composition of mine would be appropriate for this Good Friday in the time of COVID-19. I hope you enjoy it and are safe and well with your families. I have some ideas for an alternate mix, so I may upload that in a while.
Libraries used:
Spitfire Audio EVO Strings 2 Spitfire Audio EVO Woodwinds Spitfire Audio Albion V Tundra Spitfire Audio Originals Felt Piano Spitfire Audio Apertures Spitfire Audio Orchestral Swarm 8DIO Bazantar
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Follow me on Twitter: twitter.com/WiebeMusicOrchestral Fantasy Music | The Way HomeJeremy Wiebe Composer2020-04-07 | Here's an original track I created last year. It has a bit of a Howard Shore / Lord of the Rings style to it. I used primarily Symphobia Lumina, which is a true joy to work with. I recommend every composer to have this library in their arsenal. I plan to upload music more regularly, so stay tuned for more and let me know if you have any suggestions for the channel. I want to start putting some more effort into it again.
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Follow me on Twitter: twitter.com/WiebeMusicThis Time For Sure | HTTYD orchestral mock up w/videoJeremy Wiebe Composer2020-03-30 | Since it is the 10 year anniversary of How To Train Your Dragon this month, I thought I'd release an orchestral mock-up of the cue "This Time For Sure," which is from the original film. It was interesting to learn about John Powell's orchestration style while creating this midi mock-up. I'd describe it as very focused and lean. He' selective with doublings; each section has a simple but specific part, and these parts interlock with a quick but determined precision, creating a power and energy that is greater than the sum of its parts. It's exactly the kind of orchestration that I hope to emulate more often.
It was sad to say goodbye to these beloved characters with the release of the final instalment of the trilogy last year. I hope you enjoy this mock-up.
Libraries used include:
Berlin Brass by Orchestral Tools Hollywood Strings by East West Hollywood Orchestral Woodwinds by East West CinePerc by CineSamplesAstrid Goes For A Spin | HTTYD orchestral mock up w/ videoJeremy Wiebe Composer2020-03-30 | Since it is the 10 year anniversary of How To Train Your Dragon this month, I thought I'd release an orchestral mock-up of the cue "Astrid Goes For A Spin," which is from the original film. It was interesting to learn about John Powell's orchestration style while creating this midi mock-up. I'd describe it as very focused and lean. He' selective with doublings; each section has a simple but specific part, and these parts interlock with a quick but determined precision, creating a power and energy that is greater than the sum of its parts. It's exactly the kind of orchestration that I hope to emulate more often.
It was sad to say goodbye to these beloved characters with the release of the final instalment of the trilogy last year. I hope you enjoy this mock-up.
Libraries used include:
Berlin Brass by Orchestral Tools Hollywood Strings by East West Hollywood Orchestral Woodwinds by East West CinePerc by CineSamplesDramatic Strings | After the War (Revisited)Jeremy Wiebe Composer2019-05-20 | I composed this music six years ago using EW Symphonic Orchestra. It was my oldest track on SoundCould, and I finally took it down since I was running out of upload time and it really was not up to my current standards. But I've always felt that it was a pretty strong composition, especially for my earlier work. Plus it was one of my wife's favourites. So I decided to re make it using Hollywood Strings. The percussion is still from Storm Drum 2. Even though I have newer percussion libraries, the drums I was originally using felt best. I tweaked the midi for the drums and improved the processing quite a bit. I also tweaked the string arrangement a little. Overall, I am very happy with how it turned out.
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Follow me on Twitter: twitter.com/WiebeMusicDramatic Cinematic Music | Triumph of the AgesJeremy Wiebe Composer2019-05-14 | I composed this track using exclusively ProjectSAM's Lumina library. It is such a breeze writing music with their libraries. I picked up Lumina last summer when they had their 50% discount through Native Instruments.
With this track, I used the Lumina Story "Fantasy Majestic" as the backbone of the arrangement. Although you are a bit limited with the music you can write using these templates, I was impressed with how all the instruments were layered together seamlessly while still allowing independent control for swells. The orchestration of the patch transitions nicely from different layers of instruments across the keyboard.
In addition to Lumina, I used Cine Samples' CinePerc to fill out the percussion.
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Follow me on Twitter: twitter.com/WiebeMusicHow to Train Your Dragon - This is Berk midi mockup (John Powell)Jeremy Wiebe Composer2018-12-31 | Here's a video of my HTTYD orchestral midi mockup set to the film. I made some updates to the mix, this time going for a drier sound that is closer to the mix of the original score. I also applied match EQ to this version at the mastering stage, using John Powell's original as the reference track, and I was blown away at how much it improved the mix. The match EQ added a lot of clarity at the mastering stage, even though I thought I had done a pretty good job of mixing it at the mixing stage. I will probably make a video later showing my process for how I created this mockup.
With How to Train Your Dragon: The Hidden World coming out soon, I wanted to do a mock-up of the epic "This is Berk," from the opening scene of the first How to Train Your Dragon film. John Powell's How to Train Your Dragon is one of my favourite film scores, and it's always been something I've listened to around Christmas time, especially the second score. Maybe it's the wintery north of the Viking homeland or the magic of dragons that evokes the Christmas season spirit.
I can't wait to see what John Powell comes up with next for the third instalment, How to Train Your Dragon: The Hidden World. The scores he's made for each film seem to get better and better. I particularly enjoyed the more prominent influence of Scandinavian composers in the score for How to Train Your Dragon 2. I'll be putting out one or two more How to Train Your Dragon mock-ups in the months ahead. Let me know if there's one in particular you'd like to see.
For this mock-up, I used Hollywood Orchestra, Berlin Brass and CinePerc. I also used Orchestral Tools' Metropolis Ark 1 and EW Symphonic Choir for the choir.
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsHow to Train Your Dragon - This is Berk midi mockup (John Powell)Jeremy Wiebe Composer2018-12-23 | With How to Train Your Dragon: The Hidden World coming out soon, I wanted to do a mock-up of the epic "This is Berk," from the opening scene of the first How to Train Your Dragon film. John Powell's How to Train Your Dragon is one of my favourite film scores, and it's always been something I've listened to around Christmas time, especially the second score. Maybe it's the wintery north of the Viking homeland or the magic of dragons that evokes the Christmas season spirit.
I can't wait to see what John Powell comes up with next for the third instalment, How to Train Your Dragon: The Hidden World. The scores he's made for each film seem to get better and better. I particularly enjoyed the more prominent influence of Scandinavian composers in the score for How to Train Your Dragon 2. I'll be putting out one or two more How to Train Your Dragon mock-ups in the months ahead. Let me know if there's one in particular you'd like to see.
For this mock-up, I used Hollywood Orchestra, Berlin Brass and CinePerc. I also used Orchestral Tools' Metropolis Ark 1 and EW Symphonic Choir for the choir.
The Academy of Music in Kraków presents a concert by the Chamber Orchestra and Choir celebrating the 650th anniversary of Armenian diaspora in Poland. The concert is held as a part of a scientific conference Between the East and the West – Armenia in Europe: Musical Meetings.
Zofia Trystuła – duduk Choir and Orchestra of the Chamber Orchestra of the Academy of Music in Kraków Maciej Tworek – conductorDramatic Fantasy Music | Tour Comes to VinyamarJeremy Wiebe Composer2017-12-28 | I wrote this piece for a collection of music inspired by Tolkien's The Fall of Gondolin. This track is for the scene where Tuor finds the sword and armour that Turgon left in the hall in the abandoned city of Vinyamar before taking his people to found the hidden city of Gondolin. The one who finds the sword and armour was foretold to be the one who would save the Noldor from their impending doom.
I actually wrote this track two years ago this Christmas, but was holding onto it because I thought I'd have the full collection composed and would release it all together. But it has been a busy year for me and a lot of other projects had to take precedence over this personal passion project.
Let me know how you like the music and what scene you'd like me to score next from the Fall of Gondolin if you're familiar with the story.
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsMarvin Hamlisch Scoring Contest | The OceanmakerJeremy Wiebe Composer2017-07-19 | It was a great pleasure to score this short film for the Marvin Hamlisch Film Scoring Contest. The contest called for a score for the first five minutes of the film, "The Oceanmaker." Finalists would be required to score the entire 10 minutes. Although I wasn't a finalist, I decided to score the entire film for fun. Some part of my score for the second half of the film I think may actually be the strongest parts of the score. Let me know what you think.
Libraries used include: Hollywood Strings, Hollywood Brass, Hollywood Orchestral Woodwinds, Spitfire Albion IV Uist, Spitfire Mural Strings Evolutions, Spitfire Woodwind Evolutions, Orchestral Tools Metropolis Ark II, CineSamples CinePerc.
Link to original film: http://www.mightycoconut.com/the-oceanmaker http://www.cine.org/hamlischcontest www.mightycoconut.comPolitical Thriller Score | StatecraftJeremy Wiebe Composer2017-04-18 | I produced this score for a short film called Statecraft, a political thriller that was unfortunately cancelled. The original brief called for music similar to State of Play (2009), staring Russell Crowe with music by Alex Heffes, and Michael Clayton (2007), staring George Clooney with music by James Newton Howard. Hope you enjoy the track, and as always, let me know what you think.
Libraries used include: Orchestral Tools' Metropolis Ark II, Spitfire Audio's Euphone, 8Dio's Bazantar, and Spitfire Audio's Evo Woodwinds.
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsThe Vikings Are Told of Ragnars Death by Trevor Morris | Extended Version (audio only)Jeremy Wiebe Composer2017-04-04 | When I first heard this theme composed by Trevor Morris for Vikings, I knew I not only wanted to do a mock-up of it, but I also wanted to create an extended orchestration of this theme, which is called "The Vikings Are Told of Ragnar's Death" and was used in Vikings Season 3 Episode 10.
The first few minutes of this track are my recreation of Trevor Morris' original cue. Then I transition into my own extended orchestration. I'll possibly do a video showing how I created this track, but for now I thought it would be fun to assemble some scenes from the Vikings to go with this music.
To create this track, I've made extensive use of Orchestral Tools' Metropolis Ark II, supplemented with Berlin Brass, 8Dio's Adagietto Strings and Spitfire Audio's Albion V Tundra. The choirs in Ark II are absolutely gorgeous and really shine in this track. Another standout patch was the Berlin Brass trumpet vibrato, which really shines at the end of the orchestration.Inside the Score | Vikings by Trevor MorrisJeremy Wiebe Composer2017-03-25 | In this video, I break down how I created my mock-up and extended orchestration of Trevor Morris' score for Vikings.
When I first heard this theme composed by Trevor Morris for Vikings, I knew I not only wanted to do a mock-up of it, but I also wanted to create an extended orchestration of this theme, which is called "The Vikings Are Told of Ragnar's Death" and was used in Vikings Season 3 Episode 10.
The first few minutes of this track are my recreation of Trevor Morris' original cue. Then I transition into my own extended orchestration. I'll possibly do a video showing how I created this track, but for now I thought it would be fun to assemble some scenes from the Vikings to go with this music.
To create this track, I've made extensive use of Orchestral Tools' Metropolis Ark II, supplemented with Berlin Brass, 8Dio's Adagietto Strings and Spitfire Audio's Albion V Tundra. The choirs in Ark II are absolutely gorgeous and really shine in this track. Another standout patch was the Berlin Brass trumpet vibrato, which really shines at the end of the orchestration.The Vikings Are Told of Ragnars Death by Trevor Morris | Extended VersionJeremy Wiebe Composer2017-02-24 | When I first heard this theme composed by Trevor Morris for Vikings, I knew I not only wanted to do a mock-up of it, but I also wanted to create an extended orchestration of this theme, which is called "The Vikings Are Told of Ragnar's Death" and was used in Vikings Season 3 Episode 10.
The first few minutes of this track are my recreation of Trevor Morris' original cue. Then I transition into my own extended orchestration. I'll possibly do a video showing how I created this track, but for now I thought it would be fun to assemble some scenes from the Vikings to go with this music.
To create this track, I've made extensive use of Orchestral Tools' Metropolis Ark II, supplemented with Berlin Brass, 8Dio's Adagietto Strings and Spitfire Audio's Albion V Tundra. The choirs in Ark II are absolutely gorgeous and really shine in this track. Another standout patch was the Berlin Brass trumpet vibrato, which really shines at the end of the orchestration.Epic Adventure Music | VictoryJeremy Wiebe Composer2017-01-20 | I wrote this epic adventure music using Orchestral Tools' Metropolis Ark I sample library.
As with some of my other compositions, you can hear the influence of John Powell's How to Train Your Dragon score. In the middle of my composition, I introduce a secondary theme which I think would stand nicely on its own in another composition, so I may revisit it in the future.
As always, let me know what you think. I always appreciate getting comments from my loyal subscribers :)
Libraries used include: Orchestral Tools' Metropolis Ark I, EWQL Hollywood Strings, EWQL Hollywood Orchestral Woodwinds, and CineSamples' CinePerc.
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsComposing a Film Score: LEGO The Cryptic EpistleJeremy Wiebe Composer2017-01-12 | For this ScoreCast, I breakdown my composing, orchestrating and mixing process. I'm planning on doing more videos like this in the future, so let me know what you guys would like to hear about in the comments section.
I had a great time composing the score for this short stop-motion lego film, produced by the very talented Remnant Media Studios. Check out their channel here: youtube.com/channel/UCuH947c4WEqQcMAvM4LyoLg
As I explain in the video, the director wanted a sound similar to the subdued parts in Hans Zimmer's "Catatonic" cue from Sherlock Holmes as well as John Williams' score for The Adventures of Tintin.
Libraries used include: Hollywood Strings, Hollywood Brass, Hollywood Orchestral Woodwinds, Gypsy, and CinePerc.
In Greek mythology the Hyperboreans were mythical people who lived "beyond the North Wind". The Greeks thought that Boreas, the god of the North Wind lived in Thrace, and therefore Hyperborea indicates a region that lay far to the north of Thrace.
This land was supposed to be perfect, with the sun shining twenty-four hours a day, which to modern ears suggests a possible location within the Arctic Circle. However, it is also possible that Hyperborea had no real physical location at all. According to the classical Greek poet Pindar:
neither by ship nor on foot would you find the marvellous road to the assembly of the Hyperboreans.
Pindar also described the otherworldly perfection of the Hyperboreans:
Never the Muse is absent from their ways: lyres clash and flutes cry and everywhere maiden choruses whirling. Neither disease nor bitter old age is mixed in their sacred blood; far from labor and battle they live.
Libraries used include: Hollywood Strings, Hollywood Orchestral Woodwinds, Symphonic Orchestra Harp, and Spitfire Evo Strings 2.
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsRomantic Flight by John Powell | How to Train Your Dragon (Mock-Up)Jeremy Wiebe Composer2016-12-17 | John Powell's How to Train Your Dragon is one of my favorite film scores, so I wanted to do a mock-up of this memorable composition, "Romantic Flight." I will upload another video showing how I created it in Logic Pro, but for now, I synced it to the video of Hiccup and Astrid going for a joy ride with Toothless through the clouds over Berk.
Unfortunately, I realized at the end of producing the track, that I had forgotten a tempo change at the climax, so the music doesn't quite sync up towards the end as it does in the original.
Unfortunately it looks like How to Train Your Dragon 3 is still a couple years away, so we'll have to wait a while longer to see what John Powell comes up with next.
I used Hollywood Orchestra, EW Solo Violin, Berlin Brass and CinePerc. The EW Solo Violin turned out surprisingly decent. I got as part of a bundle years ago, but hadn't used it as I was initially unimpressed with the sound.
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsSad Music for Strings | The FallenJeremy Wiebe Composer2016-11-14 | In the middle of writing this track this past summer, I learned my grandpa died. During WWII, he was conscripted as a lumberjack for the war effort, so I thought an image of fallen trees would be suitable for this composition, which now has special meaning for me.
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsBeautiful Tolkien Fantasy Music | Tuors VoyageJeremy Wiebe Composer2016-10-04 | I wrote this fantasy orchestral composition when I began testing out ideas for my upcoming Tolkien-inspired work, The Fall of Gondolin.
Unfortunately, I haven't had a lot of time to progress with the larger body of work this summer, but I intend to move forward with it this fall. I find I work best in seasons, and it can often be beneficial to return to a larger concept project after sometime away from it. Let me know what you guys think of this track and also tell me what you'd like to hear in future Tolkien-inspired tracks that I may make.
Sample libraries used include East West Quantum Leap Hollywood Strings, Hollywood Brass, Hollywood Orchestral Woodwinds, Hollywood Percussion and Hollywood Harp.
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsDark Ambient Music | HoreforstJeremy Wiebe Composer2016-09-09 | With the weather getting colder where I live, I thought I'd post this dark ambient track I produced last winter. Hope you enjoy! Also, since I'm approaching 1000 subscribers, I thought it would be nice to do something to celebrate. Let me know if you have any ideas, perhaps a orchestration challenge?
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsBeautiful Dramatic Strings | Midnight on the LakeJeremy Wiebe Composer2016-08-12 | This short track features sordino strings. I used the sordino script in Hollywood Strings, which is pretty good. I've used Spitfire Audio's Evo Woodwinds as well. Reverb is QL Spaces; I wanted to go for a drier sound on this one so that you could really here the softness and color of the sordino.
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsCeltic Adventure Music | Dragon Mountain - Call to the NorthJeremy Wiebe Composer2016-06-21 | I'm very excited to release my first, full-length album, Call to the North, a collection of cinematic music with a Celtic and northern feel.
I wanted this collection of music to represent scenes of northern landscapes, which I and my ancestors before me have always called home, whether from the Black Sea to Northern Europe and to the Canadian prairies. The track in this video has a similar feel to John Powell's score for How to Train Your Dragon, which is one of my favourite scores and an inspiration for my my music.
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsMarvin Hamlisch Film Scoring Contest | Jinxy Jenkins and Lucky LouJeremy Wiebe Composer2016-06-10 | It was a great pleasure to score this unique film for the Marvin Hamlisch Film Scoring Contest. Although I wasn't a finalist, I was very happy to learn I scored in the top 20% of entries.
When I first watched the film, I knew it would benefit from a score using a wide range of instrumentation covering the whole range of the orchestra, including woodwinds for the more comedic and lighthearted moments to full-on brass fanfare for the energetic and adventurous moments. I also knew that as an animation and comedy, the film would benefit from a number of tightly sequenced "hit points."
With those two thoughts in mind, I began the scoring process by marking several sync points in my sequencer. Then I began laying down a piano sketch, adjusting the tempo as needed to align the music with the sync points I had marked out. From there, I began the orchestration process, following my piano sketch fairly exactly, but adding some extra bits here and there. All told, I took about 20 hours to get the final mixed and mastered track.
I used exclusively East West Quantum Leap's Hollywood Orchestra to create this track.
Copyright Michael Bidinger, Michelle Kwon 2014, Ringling College of Art + Design Link to the original film: vimeo.com/92471917 Link to Ringling College: http://www.ringling.edu/ Link to Ringling College animation department http://www.ringling.edu/learn/majors/computer-animation/
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsEmotional Tolkien Fantasy Music | The Death of FingonJeremy Wiebe Composer2016-05-10 | Three years ago, I started creating realistic orchestral mock-ups. My early compositions were inspired by J. R. R. Tolkien's the Silmarillion, and I created a number of pieces which I released as an album called Songs from the Perilous Realm. Unfortunately, those early mock-ups were not very good, and I've removed most of it from my public profile. In the years since, I've concentrated on improving my midi orchestration skills, and I'm pleased to say I will be returning to the task of creating the music of the elder days in Beleriand, where the Noldor lived out the tragic fate of their doom. This time, I will be focusing on the story of Tuor and the Fall of Gondolin. This track is a little taste of what you can expect to hear in this upcoming work, which I'm planning to release by the end of the year. In the Battle of Unnumbered Tears, Fingon was nearly victorious; but in the end, he was finally defeated and then killed by Gothmog, Lord of Balrogs. This composition is a eulogy to his life and death.
I composed this short track primarily using Spitfire Audio's Evo Grid Strings and Evo Grid Woodwinds. Both are great libraries, and one of the most worthwhile sample library purchases I've made. Each library features 48 unique "evos," evolving textures and playing techniques that loop after about 15-20 seconds. Using these libraries to make music is one of my guilty pleasures, as you can simply play some interesting chords and layer different evos to create a finished track in a very short amount of time. I also like using these libraries in my more traditional orchestrations to add some interesting textures and added realism.Epic Adventure Music | Flight Over the MetropolisJeremy Wiebe Composer2016-03-03 | I had a lot of fun making this track using Orchestral Tools' new sample library, Metropolis Ark I. The only other libraries I used were CinePerc and an eDNA patch from Albion 4.
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Join my circle on Google+: https://plus.google.com/u/0/+JeremyWi...Beautiful Tolkien Fantasy Music | Eärendil Goes to SeaJeremy Wiebe Composer2015-12-10 | I wrote this fantasy composition inspired by Tolkien's story of Eärendil's search for Valinor in the Silmarillion.
After the fall of Gondolin, Eärendil lived in Arvernien by the Havens of Sirion. His parents, Tuor and Idril, daughter of King Turgon of Gondolin, sailed west to Valinor, never to return. With the aid of Cirdan the Shipwright, Eärendil built a ship which he named Vingilot. He sailed in search of Valinor, which shrouded by the Enchanted Isles, and to seek the aid of the Valar, the Lords of the West, to overthrow Morgoth, the dark lord whose hold over Beleriand was now almost complete.
Libraries used include: Hollywood Strings, Hollywood Brass, Hollywood Orchestral Woodwinds, Symphonic Orchestra, Spitfire Audio's Evo Strings 1.
I received a lot of requests for a mockup of the music from the third trailer of Star Wars VII: The Force Awakens. I love the use of Princess Leia's Theme in this trailer as well as the piano at the beginning.
Although the themes in this track are of course composed by John Williams, this trailer music was arranged and produced by John Samuel Hanson and Frederick Lloyd, unlike the previous two trailers which were end to end John Williams' own work.
Sample libraries used include: Hollywood Strings, Hollywood Brass, Hollywood Orchestral Woodwinds, EWQL Symphonic Choirs, EWQL Symphonic Percussion, Stormdrum 2, QL Pianos.
For the first part of the track, I recreate the upbeat section at the end of Fructus Gravis, and then I extend it through further development of the original motif. In the original track, it's a fairly short section, so I wanted to compose an extended version to listen to.
I used Hollywood Strings. And I used EWQL Symphonic Orchestra for the FX at the beginning.
Join my circle on Google+: plus.google.com/u/0/+JeremyWiebeComposer/postsBeautiful Cinematic Strings | Over the DaleJeremy Wiebe Composer2015-07-02 | I composed this short cinematic composition for orchestral strings, using 8dio's Agitato Grandiose Legato.The Force Theme - Star Wars - John Williams (mock up)Jeremy Wiebe Composer2015-05-20 | In anticipation of the new Star Wars movie, The Force Awakens, I wanted to do some arrangements of some of the original Star Wars music composed by John Williams.
The Force Theme from Star Wars is one of the most iconic and memorable pieces of music in film. It always brings to mind the binary sunset scene in Star Wars: A New Hope.
I love all the different variations of it that John Williams has written for all the Star Wars scores. The theme is so versatile, ranging from the heroic to the melancholic.
Sample libraries used include: 8dio Agitato Grandiose Legato, Adagietto, Hollywood Brass, Hollywood Orchestral Woodwinds, Symphonic Orchestra Percussion.
When I heard John William's incredible orchestration for the second trailer for Star Wars: The Force Awakens, I knew I had to do a mock up of it using orchestral sample libraries so I could listen to the music on its own. Everything about the music in the trailer was perfect, from the first measures of the Force Theme stated in the solo horn as the camera tracks the speeder, panning along the desert of Tatooine to reveal the husk of of an imperial cruiser crashed in the dunes, to the statement of the final measures of the theme in the strings in octaves as the Rebel X-Wing Fighters sweep down and up over a river.
I tried to capture as many details as close as I could using samples. I even used a sound design patch from Stormdrum 2 to emulate Darth Vader's breath, heard at the close up of the deformed mask in the trailer when Mark Hamill narrates saying, "My father had it [the Force]." Unfortunately, I wasn't able to find anything that approximated Chewie's roar before the final tutti chord. :)
I was able to use Spitfire Audio's new EVO String library to recreate some of the detailed string effects at the beginning.
Sample libraries used include: Hollywood Strings, Hollywood Brass, Stormdrum 2, EWQL Symphonic Orchestra Percussion, EWQL Symphonic Choirs, Goliath, QL Pianos, Silk and Spitfire Audio's EVO Strings.