Strings arrangement w/samples

Q: What was your career path? How long have you been doing this?

A: In the mid '90s I was "tracking" on Amiga computers. Even back then I was captivated by the idea that a computer could trick people into thinking they heard a performance on a real acoustic instrument. In the late 90's I started playing in rock and metal bands as a guitarist and keyboard player. When things got more serious for my bands Izegrim and The Monolith Deathcult I got more and more requests by bands, artists and producers to do keyboards, guitars and string arrangements and so I started my company One Man Orchestra about 10 years ago. Worked a lot for Dutch bands and producers and got most of my gigs through word of mouth. Someone turned my attention to SoundBetter and now I'm here! As for education: I am primarily self-taught, apart from a couple of years of organ lessons, a few months of jazz guitar lessons and couple of online courses such as the ones offered by Berklee and Alexander Publishing.

Q: What are you working on at the moment?

A: When I'm not arranging strings or orchestrating, I'm either busy with my band The Monolith Deathcult or composing tracks for my Audiojungle page (https://audiojungle.net/user/sonargymusic?ref=SonargyMusic)..

Q: What's your 'promise' to your clients?

A: String arrangements and orchestrations that move people.

Q: What do you like most about your job?

A: Enhancing the meaning and impact of a song with my arrangements.

Q: What questions do you ask prospective clients?

A: What is the song about and what is your goal?

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Probably a mobile phone to call a rescue team, an acoustic guitar and my Kindle to pass the time.

Q: How would you describe your style?

A: Expressive, melodic, exactly what the music needs, epic.

Q: Which artist would you like to work with and why?

A: I'd say Devin Townsend. I love his energy, charisma and music. Devin's music is already epic but I'd love to know what happens if a real orchestra is added to his music.

Q: Can you share one music production tip?

A: I see a lot of people buying the most expensive sample libraries only to make it sound like a cheap ROMpler synths. Having the libraries is of course half the battle. My advice to them is: study orchestration, do a string arrangement course, grasp how to idiomatically write for strings, brass, woodwinds, choir and percussion, and apply this knowledge while arranging, while using midi "tricks" like humanizing timing and intonation.

Q: What type of music do you usually work on?

A: Pop, rock and metal.

Q: What's your strongest skill?

A: Making great, emotional strings and orchestra arrangements that fit the track and make them sound ultra realistic.

Q: What do you bring to a song?

A: Only what is necessary. Also, it's important to me to know what the lyrics are about, because string arrangements and orchestrations should enhance that essence of the song.

Q: What's your typical work process?

A: - Clients contact me with a short briefing outlining the project goal. If possible, they email me an mp3, MusicXML or midi file of the track, and examples of other artists as inspiration. - We do a Skype/Hangout call or stick to e-mail, whichever the client prefers. We’ll define the scope and fixed price of the project. - After "go" I will start working as soon and send the first mockup(s), my client gives feedback, and we’ll iterate this process untill we’re both happy. When you’re happy, I’m happy; I’ll send you an invoice and of course high quality stems and other deliverables we’ve defined for the project.

Q: Tell us about your studio setup.

A: Hardware: - An i7 Windows 10 system I've built myself, stuffed with RAM and SSD's for sample playback. - RME Babyface as audio interface - Presonus Eris E8 monitor speakers - A Doepfer LMK2+ 88 weighted keyboard controller - A Korg PadKontrol for drum programming - An iPad 1 running TouchOSC to control my orchestral libraries - An Akai LPD8 for extra knobs and pads - A 32 key Korg MicroKey for really fast synth action - A backup computer system (old PC and Mac). Software: - Cubase, Reaper and Notion for sequencing and scoring - Kontakt 5 running Spitfire Audio, Embertone, Impact Soundworks, Soundiron and lots more - Vienna Symphonic Library Chamber Strings, part of Orchestral strings, lots of separate instruments and SE. - No need for Vienna Ensemble on this system, everything runs smoothly on Vienna Instruments Pro! - DDMF eq's, compressors etcetera - Valhalla DSP reverbs - Many soft synths (mostly emulations of classics such as Juno 6, CS-80 and Oberheim OB-Xa) - Everything I record is automatically backed up in real time to a cloud service (sync.com). Other: - An acoustically treated room - A bunch of guitars (mostly Ibanez: RG and Jem). - A bunch of dynamic and condenser mics, I can borrow any brand from local recording studios. - A laughing buddha - A miniature Optimus Prime - A miniature buste of good ol' "Ludwig Van" - The obligatory Persian rug

Q: What other musicians or music production professionals inspire you?

A: I love what George Martin did as a string arranger for The Beatles (just listen to Eleanor Rigby!). David Campbell is great too (check out Beck's Sea Change and Adele's 21). Dave Grusin (James Taylor's Caroline I See You) is great too. When it comes to "epic orchestral", I love John Williams (of course!), Jerry Goldsmith, a bit of Hans Zimmer (but I keep the ostinatos at a minimum...). Thomas Newman's subtle style is very inspiring as well. And of course the Two Steps From Hell guys. I also love what Gaute Storaas did for the metal band Dimmu Borgir, and the orchestrations in Fleshgod Apocalypse and Septic Flesh.

Q: Describe the most common type of work you do for your clients.

A: Mostly string arrangements for pop and rock artist, sometimes "epic orchestral" stuff for metal bands who want a bad-ass intro for their album or live shows or "orchestral sweetening" on their tracks.