Learn How to make Hybrid Orchestral Music | Mikael Baggström | Skillshare

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Topics include illustration, design, photography, and more

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Topics include illustration, design, photography, and more

Lessons in This Class

25 Lessons (3h 18m)
    • 1. Your Adventure in Hybrid Orchestral Music

    • 2. Introduction to Hybrid Orchestral Music

    • 3. Hybrid Percussion

    • 4. Hybrid Rhythm

    • 5. Low End Focus

    • 6. Accents & Power

    • 7. Atmospheric Mood

    • 8. Hybrid Contrast

    • 9. Hybrid Layering

    • 10. Building Tension

    • 11. Cinematic Sound Mix

    • 12. Creative Sound Design

    • 13. Epic Processing

    • 14. Harmonic Stability

    • 15. Motion Minded

    • 16. Sound Design Elements

    • 17. Sticks & Shimmer

    • 18. Hybrid Track 1

    • 19. Hybrid Track 2

    • 20. Hybrid Track 3

    • 21. Hybrid Track 4

    • 22. Hybrid Track 5

    • 23. Electronic vs Orchestral Blend

    • 24. Epic vs Atmospheric

    • 25. Congratulations

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About This Class

Today your new learning journey will begin! You will learn how to create the hybrid orchestral style of music that has become hugely popular in modern movie, TV and game soundtracks. A mix of synthesizers, sound design and orchestral/acoustic instruments.

A blend of the classic beauty of the orchestra, and cutting edge modern sound design. Famous soundtracks in this hybrid orchestral style of music are many of Hans Zimmer's modern scores, but of course many other composers have adopted this style.

In this course you will learn:

  • The Fundamentals of Hybrid Orchestral Music

  • The Sounds of Hybrid Orchestral Music

  • The Synths & Sound Design of Hybrid Orchestral Music

  • The Guidelines of Hybrid Orchestral Music

You will learn all the essential ingredients of how to make hybrid orchestral music, but also great tips, tricks and guidelines on instrumentation, sound design, synthesizers, layering, arrangement, composition, production, mixing and much more. And I will share my favorite insights and secrets of this style of music so that you can start composing and producing hybrid orchestral tracks right away after you have taken this course.

So are you ready to learn how to make hybrid orchestral music like Hans Zimmer and many other famous modern composers? Then let’s get started, right now!

Meet Your Teacher

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Mikael Baggström

Music Composer | Sound Designer | Video Producer


Hey Friends and Creative People!

My name is Mike, and I am a Music Composer, Sound Designer and Artist. I Share my Story, Journey, Experience and Knowledge, to Inspire and Empower Creative People like you. =)


I believe that learning should be fun. I love to bring my personality into my teaching style. I also try to make my courses dynamic, to be more interesting to you. =)

Friendly regards,
Mike from Sweden
Compose | Artist | Educator

See full profile

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1. Your Adventure in Hybrid Orchestral Music: Hello my friends. My name is Mike. I am a composer, artist, and educator, and I want to warmly welcome you all to your new learning adventure. You will learn how to create the hybrid orchestral style of music that has become hugely popular in modern movie, TV, and game soundtracks. A mix of synthesisers, sound design and orchestral and acoustic instruments. A blend the classic beauty of the orchestra and the cutting edge modern sound design of electronica. In this course, you will learn the fundamentals of hybrid orchestral music, the sounds of hybrid orchestral music, the sinc and sound design of hybrid orchestral music, and the guidelines and tips and tricks. Or in other words, you will learn all the essential ingredients of how to make hybrid orchestral music. But also great tips, tricks and guidelines on instrumentation, sound designs, synthesisers, layering, arrangement, composition, production, mixing, and so much more. I will share my favorite insights and secrets of this style of music so that you can start composing and producing hybrid orchestral tracks right after you have taken this course. So are you ready to learn how to make hybrid orchestral music in the style of wholesaler and many other famous modern composers. Then let's get started right now. 2. Introduction to Hybrid Orchestral Music: Introduction to hybrid orchestral music. Let's start by defining what hybrid orchestral music is. And particularly the hybrid approach that haunts similar have used in so many scores. The son of this style is basically a mix of synthesizers, sound design elements, and traditional orchestral and acoustic instruments in a way that blends seamlessly together. So it is not a synth focused soundtrack with some chords on orchestral strings on top. And it's not an orchestral score with this synth pad in the background somewhere. The hybrid orchestral music style that this course will focus on is diffusion of the sound of electronica with the sound of the orchestra. Your first action, music style, instinct. It is very important that you develop your ears and instincts for how this style of music sounds and works in practice. So I will give you a few examples of a soundtracks you should listen to and analyze the details of the most important aspects of the tracks. I want you to become aware of our, the acoustic instruments, meaning the orchestral instruments, piano, guitar, et cetera. This synthesizers and samples it use pads, plaques or paired yields, drum samples, et cetera. The sound design elements like sound design hits, transition effects, etc. The hybrid layering and blend, such as ostinato strings backed up with this synth paths, for example. And finally, the mix and production effects used such as distortion, delay, reverb, etc. So here are some soundtracks to analyze. The dork Night soundtrack by host similar. The inception soundtrack also by Hans Zimmer and the Tron Legacy soundtrack by Daft Punk. The point of this exercise is to listen to hybrid orchestral music with a purpose not only for listening, for entertainment, like we usually do, but listen actively and analyze what is going on inside the music. This is how you develop your ears and instincts for any style of music, including this one. When you feel ready, you can move on to the next video and I will see you there. My friends. 3. Hybrid Percussion: Hybrid percussion. Percussion is at the very core of a hybrid orchestral music because the repercussion can provide that core energy and pulse in your music. The first aspect is the hybrid layering of different types of percussion, such as traditional orchestral percussion, like orchestral bass, drums, concert, Toms, snare drums, et cetera. World percussion instruments, which are all the percussion that are traditional to a specific culture or region in the world. But they are then placed in the same domain as the traditional orchestral precaution with the use of reverb, this drums can be anything from big Japanese titled rums to frame drums to hand drums and shakers from different parts of the world. Then we get into the classic acoustic drum kit, which can be yet another layer used in some hybrid orchestral music. And finally, we have the sound design percussion, which can range anywhere from electronic drum kits to any type of percussive sounds based on samples and sound design. Most often, you will focus on that big cinematic percussion sound, meaning a big room reverb. But also the low range focus, meaning it tilt towards the deep percussion instruments, sounds, and lower frequencies. This is because in hybrid orchestral music, you really want to leave room in the mid-range focus frequencies and the high range clarity frequencies, two voices and sound effects. The hybrid percussion is therefore that cool rhythm, energy and power. This means that you can go hard on filters, EQs, saturation, etc. To shape both the individual parts of your percussion mix, as well as the overall tone of your entire Percussion group. So I created this short composition to demonstrate hybrid percussion in action. Let's have a listen first. As you can hear, a very accented action type percussion groove here. And let's go in and have a look at what we have. So I have layered several different types of percussion instruments. So starting with this acoustic drum kit, Right? But I am using an EQ to get rid of the, basically the kick drum because I want these orchestral bass drums or epic bass drums to take care of that. And I've reduced some of the sizzle in the high range. So you can go a bit heavier if you want to really to scalp just to add that character comparing to right. And then I also use this supercharged or here at a bright setting. And just to make those snares come to life in the mix. Some pumps compression and some saturation. So without that, with really bring it out. Then the main groove comes from these two, the bass drums here, or from damage one, and it sounds like this. So here I have a role in the beginning. Then. D3. But about APA, which is basically layered with these big dramas here, played with massive Tikal dramas in this plug-in called actions strikes. And it's basically almost perfect layering. So you can see if we take a look at them both at the same time, starting their role on the bass drum. And then, as you can see, I'm not hearing every single hits. So here is layered with the Tycho's, but here it's not layer, and that gets some variation in tone as well. So here we have another hit, and this one is layered. This one it's layered, and so on. So I'm actually layering two different types of cinematic or orchestral big drums, bass drums with the Tyco massive titled rums. Then I also have these action drums, which is the studio Armageddon ensemble patch also in damage, one, which has this very wonderful whole kit of sounds from low, slimy sounding, deep drums. Two more, two more tomes. Even some scenarios there. And they'd sounds like this. So now it's getting more busy. Because when you get more complex and basically with the rhythms, it adds to that action vibe. So let's take a listen to without. Then I will add the extra rooms. The main groove by the biggest drums. And then ask you here a very big orchestral hall type sound. But when you add the acoustic drums, you get more of that up front in your face. Staging in the mix. Again, this is hybrid precaution after all. And now, apart from that, I also have these ethnic world drums, which was also damaged. One percussion, ethnic tribal drums. And it sounds like this by itself. Let's have a look. Or mid to high range bit of a different group. And that adds to the syncopation and business complexity of the pattern. As I'm flavor there at the mid-range. Then I wanted to beef it up here. We the sound design type or catenate electronic percussion sound design, hybrid sounds like these. Seba booms here very closely. Every other bar here. And they are layered. So let's see, we have gravity, hit subs menu and then this is damaged one dorky impacts. So I layer that. It is metallic. Hits with a huge cinematic ambient sound. And then for the final heat, change, the sub boom to this sound here. And I also added these explosion type sound, destruction, which is goes very well for that final hits. So a cyclist into all of this at the same time getting the, the biggest, most powerful sound that in the end, ending head. So again, but I'll acoustic Duncan, you lose a lot less sessile and energy. So that adds that up from the slimy type of sound. And by the way, I forgot to mention I'm using a parallel makes, oops, I forgot to put it back. So you can use parallel mode and these are also used, by the way, no, I think I used to own the group. So here I'm using compressed air compressor, compressor with a wet to dry mix so that it's basically parallel compression. So make sure saturation and some filtering without width. And if you wanted to, you could even add some electronic drum kit sounds to get more, even more dimension to the hybrid sound. But the main point here is the hybrid layering of different instruments, types of precaution from orchestral two, hybrid cinematic hits to ethnic world percussion, hand drums, frame drums, and sound design ramps and as well as electronic drums. And then don't be afraid to use a lot of effects like compressors, EQs, filters, and go more extreme than you usually do in, for example, orchestral music or standard rock and pop music. So that is the hybrid percussion sound in hybrid orchestral music. 4. Hybrid Rhythm: Hybrid rhythm. In most hybrid orchestral scores, there is a lot of focus on the drive and pulse in the music. Much more so than melodies and harmonies. In combination with the percussion instruments that provide that rhythmic drive is what will create the energy or your music. It can be anything from subtle palaces to dramatic action energy to rhythmic riffs and grooves. Again, with a hybrid approach, which means that you can combine and blend between classic orchestral instrumental rhythms to synthesize the rhythms, to palaces created from effects and sound design. The main articulations for acoustic instruments, or the short ones like spiccato, staccato, pizzicato, et cetera. And on synthesizers you can do anything from short pluck sounds to sweeping arpeggios here, or some of the essential rhythmic performances in hybrid orchestral music. Ostinatos, mainly on strings, but can also be on synthesisers. Suck hassles, mainly on orchestral instruments, pizzicato, strings or harp, com, comping rhythms, which can be guitar strumming or synthesizer called repetitions or petioles. On any attack focused instrument and, or sound seemed policies, especially in the low range. Rhythmic textures made from effects like rhythmic gates and envelopes. Vp8 riffs such as guitars, mixed short note performances, etc. Now let me demonstrate some of these examples of rhythm drive and pulse sounds and instruments and performances in hybrid orchestral music. So first ostinatos, and here I'm using short ensemble, short strings, patch. And you can see it here. As you can see, it is this driving, driving type of pulse, but it also has some harmonic variation, but it's mainly focus on that rhythm. And I will add the bass notes here for the accent for the main group. Stack ketose could, for example, you'd be used as ostinatos on this case just as a triggering core. So short notes here, staccato and short nose pass the bass notes, basically comping almost like playing strumming on a guitar. But in this case, short notes on strings can be brass, woodwinds, whatever. Then pizza cutoffs, which is very common to use in hybrid orchestral music. I'm using this cello here and just to create that kind of pulse like this. And then I added it, increase harmonic intervals. Yes, to add some tension there. So basically pizzicato, grateful that plucky pulse. So then comping rhythms, which could be, for example, strumming guitars, or in this case, I'm actually using the arpeggiator in ominous sphere. So this is basically pad with a bit more attack on it, but with the AARP, I'm triggering the full chord. So I playing the chords here in the sequencer. And then I'm using the AARP just to re-trigger those chords in the pattern of the arpeggio like this. Okay? So comping rhythms like that, it could be a piano, could be anything. Comping the courts in a rhythmic fashion. Or petioles is of course, playing a one note at a time and I'm using on the sphere in this case as well. But instead of using the full chord, it plays one note at a time. Very much used in the soundtrack music. And as you can hear, this hybrid style synth with some noise plaque here. Soon, palaces are of course, extremely much used in hybrid orchestra music, especially in the lower range, such as this one here. And we'll see I'm using this synthesizer and analog style synthesizer. As you can hear. It's basically only focusing on that rhythm and not too much harmonic movement. Then rhythmic pads Is if you use a pad, a string, anything, and then you add a gate effected rhythmic gait effect on top of it. So this is just a pad playing in octaves. Really cool this electric type of sound. And then you add this step effects. There are plenty of plugins you can use to add that rhythmic pulse as an audio effects. So going from this to this. Finally, repeat reefs is basically similar to ostinato, but with more grooved, so more space in between some notes to create some kind of group. And I'm using an electric guitar here, but I've added reverb, push it into the cinematic room, and it sounds like this. But you can do the same repeat kind of reef where the horizontal is short. Breaths, articulation, even strings, woodwinds, and anything that you can do these repeating types performance is on. So these are some of the examples of hybrid rhythm for orchestral, hybrid orchestral music. And one of the main points is here that you can actually layer different types. So you can lay your string ostinatos with a saint Paul's with, for example, of rhythmic pad. And that way you get that hybrid sound from the different dimensions of instruments to create that hybrid orchestral sound. 5. Low End Focus: Though, and focus, there is a lot of focus on the low end in hybrid orchestral music, both with the percussive sounds as well as the bass instruments and all other instruments with melodic focus. Not only is the focus within the orchestration and arrangement generally weighted towards the lower range octaves of the base and low one is more processed and hyped. This comes from a good amount of layering sounds and ports in the lower range for an overall bigger sound. For example, layering in assembles with various section sizes and overall tone. Layering ports with huge depth and space with more focused and upfront sounds and so on. The goal one is also often boosted by adding clarity and focus from hybrid sound design ports and synthesisers that help beef up that low end frequency range. For example, suburb basis, low palaces, deep pads, etc. And finally, even in the production and mixing stage, the low end is typically more hyped and boosted by using things like saturation compression, EQs filters not only to make it bigger and louder, but also have more power and presence in the overall mix. Let me demonstrate this guideline of a low-end power and focus. Here, I've added a double bass or canceled double base as the primary track first here, it's BBC Symphony Orchestra, which sounds like this. Now the first thing you can do is layer that with, for example, is subbase an octave below, beefing it really up like this. And really feel on here that extra weight of the sub bass. This is one of the most essential things to layer in the base register. Adding a sub bass and octave below. For example, the double bass is what? Or you can do a low pad if you want a more cinematic low end, which is also doubling, is a rich pad type sound. It's simply synthesizer patch, analog synthesizer patch enormous sphere with a lot of width and unison. So without and with. Okay, so that is all long bass notes. What about more rhythmic basis? It could be in and electric bass line, but I'm using actually double basis. The same plug-in, I believe, yes, BBC Symphony Orchestra, but with the kind of bass ostinato. Now, what you can do here is doubled that. We had, for example, a low synth powers, amusing diva, heroin analog style Moog synthesizer. Also very often used in hybrid orchestral music layering. Any type of ostinato, especially in low range, with a synth pulse doing the same thing, or sometimes doing a syncopated pattern or simply a straight pulse just to beef up with some clarity and focus into normal range. Here we also have short strings. Now what you can do here has four cores. Apply the low synth pulse to create those main beats here in the groove in the low range. Or it could even do with the plaque type synth to make some stabs with the synthesizer here to accent those main hits you can see here, here, here, and so on. Now let's talk about the mixing and production here because you can also hide the mix by using a lot more compression and also saturation. But before that, I'm also wanted to show you that you can also beef up the low end if you use a sub harmonic enhancer or generator like this one here, root, root one. So basically without the root one here with a sub harmonic and answer generator, it sounds like that, but when I activate it, listen to this deep subways added. So if you don't use a sub bass track as a layer to play in unison or an octave lower than your double basis or the domain baseline. I really recommend trying a sub harmonic generator like this one. There are plenty of plugins in this niche. And finally, let's deactivate that and let me show you the final mix here. But I actually use a plugin called super Charter, which has a saturation unit, a compressor, and a kind of tone filter built-in. So quite a bit of saturation, quite a bit of compression. Let's do the gentle one here. And the filter set on a warm tone. So without, oops, let's do, let's do these ones. And with beef up the saturation even further. Started to get that career dirty tone. And with his warm character your best, especially like you filter or EQ where you focus the tone more on the warm low range, because you want to leave room for other instruments as well as vocals and sound effects in the soundtrack. Or melodies if you just use sits for music compositions. So these are some aspect that create that low and focus and power in hybrid orchestral music. 6. Accents & Power: Exons and power, hybrid orchestral music and specifically the epic and action versions of this sugar, or heavily focused on excellence and power. Strong dynamic articulations like more quarters or very often used. High overall levels and loudness is generally the rule. And powerful accents based on both the sounds themselves as well as a lot of layering. Basically, an overall very powerful and bold sound should be what you should go for. And this focus on accents and power can come from sounds and performances like Epic and height versions of orchestral and acoustic instruments. Sound design elements like brands and PowerNotes, massive hits and booms, orchestral stabs, ball marcato notes, impacts and metal heats and crashes and so on. And of course, from a lot of accented layering and a high amount of saturation and compression to create a dense wall of sound. All right, So now let me demonstrate accents and power in hybrid orchestral music because this one is very often used, especially for dramatic and action scores and soundtracks with the hybrid orbitals down. So first, let me check this percussion group where I have two instruments. One is the Armageddon patch from damage one. And then we have an ethnic insolvent patch also from damage one. So I opted to have them fairly natural on their own in the mix. First like this, this drums and Thomas, and then this ethnic or hand drums layer together. Of course, you get that high contrast from the velocities here. Let's say, Can't see all these massive hits here on the one especially that gives you that accents, accents from Dynamics on the velocities. But what I opted to do then is on the group itself at this plug-in called Punish, which is basically compressor, Compressor, saturation unit, transient shape or an equalizer in wanting a plugin. And of course you can use separate plugins for this. The point here is I wanted to add some saturation, especially focus on some grit and also transient shape or to increase the attack and reduce this stain to make them more punchy in the mix. So without it, and listen to what happens when I turn it on high setting. You hear that destructive character and grit and dirtiness on those loudest accents. You don't have to go overboard if you don't want to. Yeah, I just wanted to make sure you heard it. So delta back of it. But still without. So all of these are activate the compressor is separation unit transient chapter and some EQ. So that is the main percussion drive now for the specific sounds that really add that accent and power. So first I have these brands, which is something that haunts Siemer in the inception soundtrack, made pretty much standard for epic music and hybrid orchestral music. I'm using this evolution contact library, inception, Brahms, gas, you get these. I call them power notes. It could also be like a long sustained power chord on an electric guitar or anything that has that massive wall of sound with a long sustain and wringing out type of sound. And those who should use more bars, like every four bars or in this case, yeah, comes in the second bar and then goes four bars before it is introduced in again. Or Castro stabs in all kinds of flavors like orchestral breath stabs short notes. And here I'm actually using a stab here in AAC shape chunks and then kind of ostinato pattern. And yes, just more those accents with this octane cords. Also of course, the velocity, the dynamics. And the same here. I'm using a more culture on strings low in sampled strings here in this plug-in called noble. And those I just use very sparse, just get that main groove and layer with the orchestral steps that really drives this energy and pulse with those marked accents from layering harmonies here, oxygens in this case, and really high dynamic contrast. Then I wanted to amp it up even more because that's what hybrid orchestral music can allow you to do. So I added these percussion dark impacts from damage, which can be this kind of explosion type sounds with very deep cinematic sound. And you can see every other bar I used them except for the final hit. Metal hits are also very good for accents. And as you can see here, they are basically mimicking the marcato power pet share on the strings. So let me see if I can play those. Standalone. Just gave those. So this doesn't actually sound that huge on their own, but you get that cranky metallic sound that really adds to the accented and powerful sound. So listen the difference here. And I went even further to create some of my own sound design hates you can stone with your feet as I did here, the hand claps hit some object in your apartment and record and sampling like I actually sample when I hit by sofa with the malate. Recall that but in this case I'm just using a, let's say a stump. So this is actually my foot stomp which I layered. So it actually several food stamps layered and that are bounced it out. And then I added some saturation, heavy compression. Let's do the punishing us. And fat tone without with yet that beefy low end. And of course I want to push it into the cinematic rooms. So I'm using a chamber to second reverb here. And I added that on top of these impacts. So those would be the loudest, biggest, most powerful accents here. But now, let's listen to everything in contexts. The percussion added with the main drive from these orchestral strapped stabs and a main axons from these marcato strings. So let's add those. Then amped up with some actual impacts and Metallica. And finally, those sound design hates, which are my own stump sounds plus these brands or power notes and all in contexts sound like this. Super powerful and very emphasized accents. High-contrast, maximum loudness, but still leaves room for reefs. Melodies, vocals, sound design, effects, or whatever else you need for that soundtrack or for your hybrid orchestral music composition. 7. Atmospheric Mood: Atmospheric mood, the focus of soundtrack music and any type music for media like movies, TV, games, etc, is to create an emotional tone and overall the mood in the music. This is particularly true for hybrid orchestral music. And as a result, this style of music is most often way more focused on creating a sound world and atmosphere. And the less or memorable melodies, reefs, motifs and harmonic progressions. Sounds and performances like drones and pedal tones are very common. Pads and streaming carpets of all colors are very much used, as well as all kinds of ambient textures that can be based on real acoustic recordings or synthesized sounds. There is also a more open mind towards applying automation and modulation effects on both orchestral and acoustic instruments, such as LFOs to add motion to sounds. And so. And finally, you can get very creative with the use of different rooms and settings on a reverb effects, as well as delay effects to create a more atmospheric and cinematic sound. Now, before I demonstrate this atmospheric mood in action, I should emphasize that of course, these atmospheric sounds and the tone here is used in underscores and background atmospheric styles of hybrid orchestral music, not the epic or high action types. All right, so let's dive in first. One of the more common elements in atmospheric air orchestral music is drones of various styles, both made from acoustic instruments and orchestral instruments in hybrid layering and so on, as well as basically synth pads in unison, low range, or octaves like this one here. So it is just a single note held for the entire duration. I guess, to really provide that anchor for the atmosphere and mood. Of course, pads and especially pads that have some movements. And very big stereo image such as this one, retroflex here, some BPM delay, chorus, echo and extra reverb. If we turn all those effects of this, some movement from LFOs, but with it, that's really atmospheric, cinematic background ambiance. And this is just to know Tom and his splaying. Then various types of soundscapes, which can be anything from recorded audio textures and background sounds to synthesized, this kind of wind type sounds, anything that is more sound, texture and not really a pad. Here. This very nice for more tension type of underscores. Then we have acoustic modulation. And this is a plugin called novo, which is basically a hybrid orchestral dedicated plugin because it's based on orchestral strings, but with some movement, as you can see here. Hybrid effects like punish here, twist to create this kind of sound. The same as the pad to note hominis. Then if we're real acoustic instruments like this one here, long sustained on horse, obtain an ascending line here. You can add some ethanol SFIA from the movement effects like such as a tremolo to create a movement in the stereo field. And also some rhythmic movement effects, such as this one called movement by output. And basically it's a pattern, create an effect using LFOs here. And step sequencers on various types of effects like filter reverb, in this case, filter EQ and reverb, which also add some extra movement. Some subtle written here. So you can use a lot of these types of movement and automation effects to add that atmospheric vibe as well on acoustic instruments. Then finally I have a piano here and just want to demonstrate a very simple pattern. This deep octave bass notes. Theme here. The high range. Now, to get that atmospheric vibe, I added a, an echo effect, which is not something you should do on natural orchestral, classical music, but very much used in hybrid orchestral music. So I'm using also a dual mode, which is basically a ping pong delay with different delay times on the left and right channel. And I'm using an analog mode to create some warm vintage characters. So without, but with. Oh wow. Asking here also, that analog modulation and depth, they're making its way a bit in pitch on the echoes. And of course I wanted to push it back in their rooms. I'm using concert, concert hall reverb on top of it and you get before. But with this ping-pong, analog, vintage style delay is a modulation. Plus this concert hall, you get very beautiful, haunting, mysterious, and scary background, ambient piano. And I actually made these examples to be able to play them together. Because all just follow these underlying in D minor chord, everything here. So I have this drone, this pad, harmonies, the texture, soundscape, of course, that isn't tonal because the modulation here on the strings, the horns with the tremolo movement is ambient piano with the ping-pong analogue delay plus a deep reverb. And also I also want to show that you can, if you want to put some EQ to shape, push it into the background even further. But here actually got rid of the lowest frequencies because I want a base to take care of that. So I cut that. And I also cut a lot here in between one kilohertz and three kilohertz is what I call the focus frequencies. This is what our ears hear the most. Our voice is basically tied manager the clarity of our voice here. So if you cut that, this is where the lead instruments have the most power. Also the vocals, voice recordings for movies and soundtracks. So without it, but with it activated. Now that space at it and push it to the background by cutting here. Finally, I also wanted to even more atmospheric fiber. So I added this is stereo. Stereo image or increasing the stereo width. This is already a very wide mix all these instruments, but I just wanted to go even further to push it to the size and make it huge. So with this kind of atmospheric background, you easily have space for sound effects, voices in the soundtrack, even adding some kind of roof on top, some kind of read them as impulse if you want to, of course, a precaution if you want to. But this atmospheric underlying mood from the valuing of the different hybrid sounds and effects can create that overall moved, which is so excellent for underscores and atmospheric hybrid orchestral music. 8. Hybrid Contrast: Hybrid contrast. I would say that there are two main ways of arranging your instruments and sounds in hybrid orchestral music. The first way is what I call hybrid contrast. By this, I mean that your orchestral instruments and your electronic instruments both work against each other in a complimentary way. For example, you may have an ostinato performance on staccato strings with a synth pad as the complimentary harmonic addition. Or perhaps you have long courts on strings backed up with orchestral double basis in the low end, but you have an arpeggio electoral soon sound on top of this. The point is that you create a contrast in the hybrid mix. Hybrid contrast is about complimentary sounds, but from different worlds, electronic versus orchestral. So here I have created two examples. The first one in purple here, I'm using short strings to create this kind of rhythmic comping patterns. So on its own, that is a pure orchestral sound. Then I, instead of using long strings for the course, I'm using this pad synthesizer in our atmosphere, playing you the chord progression. And that creates the contrast of the electronic world versus the orchestral world like this. All right, then there's another sample. I instead started with the chords being played by long strings. Oops. And then I stacked double bass below just to beef up their low end. And this could of course be a low synthesizer for that hybrid contrast. But now it sounds like is your orchestral sound, then you get that hybrid contrast. I added these arpeggio synthesizer using this minimal gear software synth called the legend to play this arpeggio pattern. Okay, Let's do that. Okay? And here you can also hear that I amped up with some extra distortion using this fat effects and user console EQ to get some vintage warmth. But when you play it together like this, you get that orchestral with the electronic world in a contrasting way. All right, so these are just a couple of examples. You can use this same approach, this mindset of creating hybrid contrast in your entire composition. Making the sounds that you use in the electronic realm it be different performances that create contrast against the traditional orchestral sound. So that is hybrid contrast in hybrid orchestral music. 9. Hybrid Layering: Hybrid layering. Now the other main way of creating that hybrid orchestral sound is not to layer to create contrast between electronic versus orchestral sounds, but to layer them in a way that make them more or less blend into each other. I call this hybrid layering, as it is essentially to merge similar sounds in the electronic versus orchestral domains. For example, ostinato strings with an ostinato flaxen, long strings playing chords with the same performance played on a synth pad, or an orchestral double bass part with a deep sub-basins as another layer. The point is not to hide neither the electronic nor the orchestral sound, but to blend them together into a new hybrid sound where two instruments and performances in each style, orchestral and electronic, will have a similar main character. And as a result, the listener will feel a more layered and mixed and complex overall sound in the music, as opposed to contrasting electronic versus orchestral parts. So let's have a look at these examples I created for a hybrid layering. First, these short strings paying an ostinato in octane like this. Okay, so what sounds in the electronic world similar to a short staccato ostinato? Well, for example, a pluck synthesizer. Pluck sound. Here I'm using almost fair. And you can see I'm using a short, short envelope declared, create this kind of plucky sound. And then I play it the exact same as the ostinato on the strings. But instead of Octavius, I'm just using the lower range here. And it sounds like this person in solvers and beefing up that ostinato with the plug-in. As you can hear, it doesn't add too much contrast, it actually blends in a bit more. Eight, you of course you can hear it. But it's not as apparent as if they were different styles of performances. This is hybrid layer, blending the worlds together like this. Next, I'm using longer strings here, creating chord progression like this. And then I am using this pads in surprised because pads or similar the electronic world. And it can be as long strings, long brass or long orchestral notes. Adding that magical dimension. So together, you can create this hybrid layering. And my final example here, which is super common to use, is to have the double bass or the main baseline with an acoustic instrument like this. And then use a deep synthesizer or sub-basins. Let's see what I'm using here. To beef up the lowest elements of it is trillion. Big warm preset here, analog style in synthesizer. And it sounds like this. And listen to what it happens when I play them together without. And when I add the deep Bayesian hybrid layering, just a subtle difference, but it really beefs up that low end and as that hybrid character. But essentially they blend together. So this is what hybrid layering is about, not creating contrasting sounds from the chuh sound worlds of electronic versus, or castle. But actually to use similar types of Psalms in the electronic domain to layer them with the acoustic orchestral domain, hybrid layering in hybrid orchestral music. 10. Building Tension: Building tension. So in hybrid orchestral music, the main focus is to create a mood in your music and atmosphere, a core energy and overall emotion, using various types of tension, adding articulations in your acoustic instruments, as well as synths and sound design elements with a built-in degree of tension can be a great way to get this added emotion and overall mood without having to change the harmonic progression as much shore to focus on melodic variation. So basically, you could use one single chord for a longer section and still have great expression, movement and interest in your music, all based on ways to create and shape the tension and mood over time. Some examples to do this with acoustic instruments are clusters and aleatoric performances. Harmonics or articulations that aim to change the tone of your sound. Tremor, lows, and trills of different intervals. Glissandos, flutter, tonguing, and grouse, as well as rips and falls. In the electronic and sound design domain, you have infinite possibilities with various tension textures and atmospheric sounds, as well as various ways to shape the sounds with effects like distortion, bit crushing, granular effects, et cetera. And of course, you can also force glissandos and shape the pitch curve on any instrument using pitch bend and automation. All right, So now let me demonstrate how you can build the tension for hybrid orchestral music using some of these examples you have just learned. So first, clusters, and by the way, I'm using C minor all throughout this composition and everything is layered using C minor as the base cord. But the first one here is clusters and dissonant, chaotic orchestral effects like this. Ok, and you can of course, create your own clusters by just playing big cluster chords which are dissident and then add some movement and the automation to them. So that is one way using clusters harmonics is a great way to add some tension in the higher range. Especially since they are so soft. You can hear a lot of the noise from the orchestral hall where they were recorded. And that adds some tension to tremble is a great articulation. But you can use to create tension, which is a fast back and forth motion of a string. You can use tremolo and other instruments as well, but mainly on strings is a great way to add that tension. Trills. And here we have, let's see, half-note trills. Half tone. Because that is the darkest harmony for trills. Then flutter tonguing flatters on brass or woodwinds. Ok. And you can also do rapes and false. So I have a fall here on, Let's see. Big Bang orchestras, an orchestral fall which also goes a halftone down here on the C and then falls down 1.5 step or on Halftone down and create that huge tension. And any type of risers which can be sound design risers since, but also a long glissando riser, or it can go down as well, but this is a rising pitch. You can also manually force a pitch shift to do a gliding sound like a fall. So I actually mimic these falls here, which all recorded inside this instrument here. And then I just type time that by holding the note here for this the same duration. And then let's see if we can see the immediate information here. Here is the dynamics and this is the pitch bend wheel down to the half way down, which means they have halftone here. And then I try to time it so they compliment each other. That is actually automating the pitch bend wheel to create that fall. In this case, you can go up as well, of course. And finally, there are so many types of tensions soundscape you can use. I'm using ominous sphere in this case, and it's just one single note, I believe here. Let's see if we can actually set it here for the entire duration, creating that tension background atmosphere. And finally, let me just demonstrate how all of these sounds in action. Because I actually used layering here to create all this tension while still only holding the C minor chord for the entire duration, except of course, the fall here in the end and it sounds like this. Okay, really nice. And you could have added, for example, let's say it'll, deep bases are based on this, especially in the low end. And then perhaps add some driving light percussion in the background to amp up the tension even more. But as you can see, the layering, the different articulations and sounds, the automation you can do. For transitions and cetera, really can build tension in hybrid orchestral music. 11. Cinematic Sound Mix: Cinematic sound mix. Hybrid orchestral music is a blend of electronic sounds and orchestral sounds. But in most cases, they will all be produced and mixed with a cinematic sound. And I know the word cinematic when it comes to music can be a bit vague. So let me clarify with some practical examples. The first aspect is depth and space in terms of reverb. So even if you use since electric guitar sound effects, etc, they will be mixed in most cases with a big room sound so they blend well with your orchestral instruments. The second aspect is spatial movement, which can come from delay effects and rhythmic stereo modulation effects like tremolo and so on. Then there are all other forms of automation curves that focus on adding movement and expression like dynamic curves, stereo panning, LFOs, filter sweeps, et cetera, all help in getting a cinematic sounds. And in terms of tone, cinematic music will in most cases, be tilted towards a warm and the deep overall tone, meaning more focus on the lower range frequencies. And finally, a wide stereo image is often created both with panning but also from stereo widening effects. Now, let me demonstrate some of these guidelines and tips for creating that cinematic sound mix in your hybrid orchestral music. So first, here I have a piano and without any effects added, is simply a dry piano sound. Of course, played in the lower range, which creates warmer, more cinematic sound by itself, but adding those space effects. So first, a delay or echo, where I recommend that you cut the lows and highs to get those clean still in the mix. But then use some kind of analog saturation over the delay or the echo sounds. You can even use a ping-pong if you'd like. Some more stereo information, gets a subtle delay and you can really hear that they have some modulation and movement in them. And then of course, the space reverb is making it the most difference here for that cinematic sound. So here I'm using a big whole reverb, as you can see, orchestral hall reverb. And that really pushes it into the cinematic room. Right? So next I have a drone here where I'm using a synthesizer called diva, which is an analog style, Moog style synthesizer. And I'm just playing octaves to get this drone sound. For drones. You really want those deep sounds or low cutoff filter, long attack and release. Basically it's kind of low range pad, but playing in Octavius organism in the lower range. Now to get some extra movement for that cinematic sound mix, you can use stereo modulation effects or any kind of modulation effects like the phasors, chorus, etc. But I like using a tremolo not to a 100 percent, but a bit here to get that stereo movement. Put it to one bar to get it a bit faster. Moves in the stereo field now. And then just push it into the room, are here by using the built-in reverb concert hall in logic, you can use whatever reverb you prefer. Okay, so ambient drones for paths, cinematic pads, It's similar sooner case here. Just use a warm, especially a warm kind of sound. Say a long, long releases the most important here for that cinematic pad sound. And then as you heard, I also use hear a concert hall reverb. And without it. I mean, you should really go all in on reverb settings for your different instruments, especially those that are not recorded like synthesizers in sound design. Elements and don't be afraid to use different reverb rooms and presets and even different freebie plug-ins on different instruments if your computer can handle it, because that creates more variation in depth and space between the instruments. So here we can hear cinematic piles where mu using this incisor div again with the built-in delay, without it adding a delay here. Then I'm using a tremolo. She had some policy or let's do another one yesterday modulation. Let's do phasor. Let's see how that sounds like. And then push it into the room with a reverb. Big theater river four seconds. Or let's do another one. Let's use in a chorus effect instead. Okay? And here our final, my final example is just what I call seen strings, iPad. That sounds more like strings. It's called dramatic strings here. Basically a lot of stack saw waves basically creating this sound. I'm using a phaser effect for some extra string Patty flavor. And the built-in Plate Reverb. And then on top of that I'm actually increasing the depth or the width of the sound with the stereo imager increasing the width here. And finally, on the entire mix, actually, especially for the background atmospheric sounds like this. You can really go and use warm tone setting for a filter or EQs, I am using a warm character here and a bit of mild saturation. And without it, with a subtle difference here, I could probably go beat harder on the warm setting. And then finally, push it even further back into the room with his wide stereo imager to push entire sound makes up these atmospheric background sounds for that cinematic sound. Getting that huge depth. So without them and with ambassadors and to the both of them, should the entire sequence here, you can see the core progression in super-easy, a minor F major, and a minor super cinematic. And by the way, I forgot to mention automation curves as well as, of course. So if you check the automation here, in fact, let's go to into here. You can see I have some modulation here to open up the filter and close it on the same strings as well here, if you have as strings or any orchestral instruments, of course, a dynamic curves, any type of automation curves. And generally you want to have them as waves and long waves, not short rhythmic ones to create this cinematic sweeping movement kinda sounds. Quarter question is super-simple. Here is what makes the difference with all that depth and space, spatial information, automation, cinematic tone, and everything put together. So that's cinematic sound mix for your hybrid orchestral music. 12. Creative Sound Design: Creative sound design. I believe that being creative with your sound design is at the core of hybrid orchestral music. But sound design can mean many different things. It can be unusual ways to perform articulations on an acoustic instrument. It can be interesting ways to synthesize sounds. It can be created layering of samples and recordings. It can be unorthodox, automation and modulation effects, some orchestral and acoustic instruments. And of course, it can be any number of ways to shape your instruments and performances with added effects. It all comes down to being creative in terms of sound design, when you create this sound world that your final piece of music will become to think outside the box and push the boundaries aside. The usual pure orchestral sound or pure electronic sound to create that hybrid orchestral mix. Okay, so let's have a look at a few examples of creative sound design. So first, you can, for example, use pitch bend or any other creative modulation automation on acoustic instruments, such as I did here on this string in Samba patch, where I actually used the pitch bend wheel to modulate it over time. As you can see right here. And it sounds like this. Can go up. You can create glissandos in this way or anything like that. Of course it can do pitch bend going up and down, or even Stevia modulation and type of modulation effects on acoustic instruments is really on orthodox in traditional orchestral music, but in hybrid orchestra music go all in for that. You can also use other types of modulation effects such as Kooris and tremolo, for example, on acoustic instruments such as I did here on this Brass library for so. And it sounds without, it sounds like this. But with some Coors and tremolo on it. It's sweeping movement. Or you can also use heavy processing such as heavy compression, parallel compression, saturation, and so on. On orchestral sounds like added here. And let's see, I'm using some phobia, hello and bases in octaves like that, and without it. So I'm using quite a bit of drive, some transient shaping. I could probably go even harder sources to get that gritty, saturated, distorted side. You can also use what I call electroacoustic morphing. Basically. Let's see here. If we have, we have two sounds. Are the Iago strings warm, so acoustic string, you can do this on any type of library by having two layers. And then this other sound here, let's see this cool pad, rhythmic, rhythmic pattern and this idea, Go strings warm. But what I did is actually, as you can see here, I have modulation will go up there and I have this expression going down. And then I map it in such a way that they are basically morphing in between each other like this. So it starts more with the rhythmic pad types synth, and then it moves into this. Because extreme. I can do this with automation on two layers as well. Of course, in your DAW, having one acoustic orchestral instrument and one synthesizer pad or whatever. Then using rhythmic effects on orchestral instruments is really cool, as well as distortion. So here I have some legato, solo bassoon, so woodwinds. And without it sounds like this. Okay, But then I used a pedal board made for guitars with this vintage Dr. So this is using this torsional orchestral instrument like this can be really cool. Then I added a movement effect. Here. It's actually called movement with this preset on it. And if you think it's too much, you can always mix it in if you have a dry wet knob like that. So that adds some cool rhythmic pulsing atmosphere and the background. And also Syria modulation that they're creating layering. So what's this about? Well, it's basically a layering, two different sounds. You can do this, of course, with two tracks in your DAW. I'm using commas here because it includes this stacking mode. So here I have this plucking bowed hop. And let's check it out in the mixer like this. Boat hall. With this other preset here. Arpeggio, speed changes and together magical deep dimension to it, from creative layering and so creative let anyone speak outside, thinking outside the box here with what sounds you layer and how and automation on the message cetera. And then simply adding noise. So let's see if I just remove all this, Let's see what I'm using here. So yeah, I'm using some noise. So noise oscillator plus this other wave here. She had some really cool attack to sound and then adding a colleague distortion or niche. So these are just thinking outside the box and taking it really far with the processing and effects. Clip distortion moves it more towards a square wave because it's clipping the waveform, then pushing it into the space by using a reverb and delay. And what I did here is I flipped them so I using missing the reverb first room reverb here and then the delay. So the delay gets fed. The already room may sound from the rebirth. So this sound gets sent to the delay and that creates this cool vibe. Okay, so these are just a few examples of creative sound design. It's all about thinking outside the box and really go hard on the processing, The effects, the automation, and so on. So let's listen to how it all sounds together. Now it's just going from D minor to D flat minor. This half-step harmonic movement, really cool, and it sounds like this. And that is creative sound design in hybrid orchestral music. 13. Epic Processing: Epic processing. The word epic is a bit like cinematic, vague, and may mean different things to different people. But what I am referring to with this guideline is APIC processing as in over the top and hyped mixing effects and production. As opposed to traditional orchestral music where the overall sound and production should be as natural as possible. The main ways to achieve this epic processing is with heavy compression. Good use of analog saturation and distortion, harmonic exciters, subbase generation, and other types of effects that will add more power and density to your hybrid orchestral music. Now let me show you these examples I created to demonstrate epic processing as a guideline for hybrid orchestral music. So first, here I have some epic percussion. And I actually inside the plug-in itself, added some saturation here by using this punish knob, which is built in. So if you have a precaution library that has some built in saturation compression and so on. You can of course use that. You could go with an insert effect as well, of course, so without it, it sounds like this. But let's turn it on here that starts to really distort. You could dial it back a bit if you want to, of course, but I really wanted to make sure you hear what the epic processing is all about. Okay, so that was the epic percussion. Now here on the short strings, Let's have a look. I'm using staccato, extra short naught. And here you could as well go for some extra compression, for example. So let's add a compressor here on this. And let's put it on a Studio FET compressor. Really make sure it comes through in the mix. Then I have some high strings to complement those lower range short strings. And what I did here is I added a, an effect called fat affects fat if effects and include some distortion here, actually two types, soft titration and exciter, some base enhancing compression, a lot of things in size, a single Pugin. Of course it could use dedicated plugin, says insert effects for compression, saturation plugins and so on. But it truly makes a huge difference. And as you can hear, it makes it sound almost synthetic, not at all as natural as you used to in traditional orchestral music. This is really thinking outside the box and going in an unorthodox direction with Epic processing for your hybrid orchestral music. And finally, I added these color lemon yellow accents in this string library. So it sounds like this. And then I added a plugin called superstructure, which has a good amount of moderate saturation, so distortion, a high amount of compression and a warm character, so without and with. So these are just a few examples of using epic processing. And let's see how it all sounds like. When you layer it all together and bad way. Before I forget, I also have on the bus here so you can put some compression saturation plug-ins and stuff on the individual instruments, but don't be afraid to go overboard and use it as well on the group buses. So here I'm using some saturation compression and a fat character tonal shaping of the entire group as well. And altogether, it sounds like this. To really get that hybrid sound with Epic processing. 14. Harmonic Stability: Harmonic stability. Since the focus in most hybrid orchestral music is more about creating a world of sound, an emotional tone, and basically set the mood. You can generally keep the harmonic language less complex, especially when it comes to cool the changes in the overall. You can, as a guideline, hold the course for longer. Use fairly simple chords and progressions and so on. This is the concept I call harmonic stability. Instead you add interests and expression with movement, motion, and flow, as opposed to chord changes. And this guideline can be applied to the melodies as well, keeping them simpler and generally with longer notes. In the extreme cases, you can keep the fundamental code for many measures of music and simply reef around this chord with all your instruments and sounds of your music. Things like evolving drones, moving pads, and dynamic string corporates, ostinatos, et cetera, are all very common in hybrid orchestral music to create interest and expression while still keeping the harmonic language of your chord progressions symbol and stable. Now let me show you some practical examples of harmonic stability. So I can post this short piece using percussion parts, a couple of different melodic and harmonic tracks here, but I don't change the chord in the chord progression that often if we take a look at, for example, the arpeggio here, we can see that I hold the chords for two full bars before I changed them out. And the interest comes in this case, from the pulse wave of the arpeggio. So let's actually mute the percussion for now and just go on one by one. So the double basis here, you get the interests from the dynamic curve and some legato transitions case. Then we have this pad synthesizer. And here you can also see that I'm using long notes. I have a couple of notes here, here and here and here that are basically transition notes into the next chord. But otherwise, other than that, it's two bars record putting more of this sound world and the atmospheric background. And even if you check the, the rhythmic parts of these short string in C or go in and have a look here, you can see it's basically not changing the pattern except this note here, perhaps until the two bar mark. And then we have another two bars of very similar pattern, ostinato to style pattern, and then continues like this throughout until the tension building here in the final, a part before the cadence. But even here you see a repetition and just adding a harmonic top line and then another one and then, so it's not really, it's really harmonically stable here as well as just adding a layer in octave of the hormone here. So very stable. And of course this goes well with the chord progression on the pads. Okay, Then this plaque synth, I even go even more simple by using Octavia. An octave pulse is what I call when I, when you go back and forth between the Octavius error, it special the same no tier. So in this case a D for the entire two bars. And I added some fat effects. So a distortion, compression, delay and reverb to create that cinematic mix sound. Communist sphere, analog, pizzicato preset. So very stable harmonically. The arpeggio that I mentioned also here, just create the interests from the arpeggio pattern. Otherwise the same chord for two bars. And finally, on these high strings here, you can see it's basically repeating ostinato here for two bars and then goes to the next. And of course, that goes well together with these short strings. And some syncopation here with the pluck or pulses synth. So as you can here also, I'm using very simple, a simple chord progression. It all comes together when you layer everything together and when you create an interest with motion, movement automation powers and rid them, of course, and modulation. So let's add the percussion on top of it all and have a listen to everything and you will hear that get this hybrid orchestral sound and interest without having too many cores or cold changes. Rights. So those are some guidelines and practical demonstrations of harmonic stability in hybrid orchestral music. 15. Motion Minded: Motion minded. I would say that movement and motion is at the essence of hybrid orchestral music. One way to add motion is with rhythm and paths, but another is to add movement in your performance. And movement can be applied in so many different ways. One of the main ways is of course, to shape the dynamic curve over time. And using level automation, you can of course use LFOs or envelopes to add movement to any parameter in your synthesizer, instrument or effect. But there are also performance articulations you can use on acoustic instruments. Had built in the movement in them, like vibrato, tremolo, crescendos, swells, et cetera. And you can also use various types of motion creating effects, both on electronic instruments as well as the orchestral instruments. All right, so let me show you some practical examples. So first here I have strings playing chords, and of course I'm using a dynamic curves here with the modulation wheel automation. But also I'm using CC 11, which is expression to add some level automation to make the dynamic curves even steeper here, more dynamic range, basically sweeping kind of lines. With slow movement in the curves like this is very effective to create interest, even though you use longer notes for melodies, longer chords, et cetera. I'm also backing this up with a basis with also dynamic curves. And if I put them together, you can see they pretty much have similar pattern of waves, but also some variation. So they are not completely Zimmer. Let us basically the main way to create motion with atleast orchestral instruments now, but you can also do is to use a filter and level of automation. So here I have a, what I call a motion pad. So you can use modulation here for socket both the modulation wheel here changes the vintage EQ here in homosphere, LFOs can also add motion to create a more complex dynamic and moving sound. Let's add some more. All right. You can also use any type of instrument, especially hybrid orchestral instruments that have built-in motion and movement inside them like for, so for example, here you can see this is moving here, and that is the macro sequence or you can also change it with your mod wheel, but variation. Over time. Also any type of articulations that actually have movement inside them, such as vibrato is actually a added movements or legato, national vibrato, it sounds like this on food. So it's more rhythmic than longer way the sort of dynamic curves of course, but it still has this interesting texture of rhythm and movement in the same articulation, you can use tremolo, trills, any type of articulation that adds movement like that. Of course, crescendo, decrescendo, and so on, and also more things. So here I'm using choir morphing. You can use two different layers and then morph between them by automating one up and one down. So going in the opposite, opposite direction. And here I mapped so that first I had the modulation wheel, and then I have this expression here. So the modulation wheel is actually morphing the vowels of this choir. Here, RD and so on there. Of course, crescendos, the crescendos and a type of dynamic variations that are built-in into the articulations, swells, of course. That is a natural recorded articulation. And for a crescendo, of course, you could do this with dynamic curves as well. Tremolo. And here I also added, Don't be afraid to use Effects that at, at motion as well. So here I'm using a tremolo to own a tremolo, so it even more movement and of course, some cinematic reverb on top of that. Let's see, I think I have gone through all the facts I'd added yeah, I added a tremolo on the fluid as well, so without. But when you get that stereo modulation, we can use phasers, flangers, any type of modulation effects that add slow movement, that as well. We're in type of LFO type audio effect, either inside the plugin or as an insert effect to change a certain perimeter over time as a curve, as a motion or movement curve in terms of automation. So in hybrid orchestral music, all of these variations in motion and movement is essential to create interests, even though you may have a simple chord progression, long notes, which if you, unless you add all these movement, will sound pretty dull and boring. But with everything together, it can sound like this. Beautiful cinematic added lifelike motion and movement. So that is some guidelines and tips for adding motion and being motion minded in hybrid orchestral music. 16. Sound Design Elements: Sound design elements. You will use a lot of sound design elements in hybrid orchestral music based on samples or sounds as well as synthesisers, and generally heavily processed with effects. I would categorize the main types of sound design elements in these categories. Percussive hits, PowerNotes, transitions, and ambiance. Some practical examples are sub booms and low rumbles, massive hits and destruction sounds, brands and processed more CO2 articulations, risers, downers and bushes as transitions, and various soundscapes that can be both tonal or unpatched background noise. Now, let me demonstrate some of these sound design elements that you will use a lot in hybrid orchestral music. And you can, of course, make them on synthesizers. You can sample sounds yourself and use sound design and effects on them. We can shape acoustic orchestral instruments into these sound design elements. Let's start with this one here, which is subunits. So anything with it? Low rumble. This is a plugin called gravity. Here, that initial hit, but more of that sub boom. You can of course use any type, even in an 800 eight for this synthesiser to create that sub boom hit, massive hits like this one in damage, exploding cores, metal, glass destruction, anything that has that massive impact sound, percussive sound brands which you can do yourself by layering loss of marcato notes on orchestral, brass and strings all used the sound design brands like this evolution libraries. They are called Bramson, most cases I prefer to call them power notes because it's basically anything that has these Wall of Sound, impact and long tail and long sustain. A big bold more CO2 note basically risers, which you can use the library dedicated for or simply use a synthesizer like I'm doing here in homosphere. And set the pitch bend wheel to one or two octaves. And then program the pitch bend wheel like this. So it goes up and up and up and up and all the two octaves. So it just one note held for the whole duration and the new automate the pitch bend. And you can do this by automating the pitch bend or more orchestral instruments, acoustic instruments as well, any type of sample that you can basically bend the pixel upwards as a riser or in the opposite direction, has a downer or sub boom downer. It basically automates the pitch, often slower, but also it goes down. Like this. It's the same concept as the writer basically party automated pitch bend going downwards instead. Then various types of whooshes which you can create yourself but have it having noise and applying filter sweeps and such on them, or use a dedicated Bush sample library like this one. This plugin is called bush. Whoops, It sounds like this. Great for transitions, various types of reverbs as it can be any type of reverse hit, reverse sound with a marked attack and then you reverse it. You can see the waveform here is reversed. You can do this on any audio file in your DAW and simple reverse it to get something that has also gradual transitions. And of course, sound design elements. You need some soundscapes can be textures, ambient backgrounds, recordings you've done yourself can be tonal or atonal, meaning nano pitched like wind, water, and such a gas as a background ambience. So these are some of the more common sound design elements. And remember, you can use a dedicated libraries like this one, gravity and find the subs, sub booms here. Or you can create one yourself by using orchestral instruments, adding sound design effects on them to create the element. Adding pitch bend automation, various types of automation, or scalp that the samples into sound design elements to use in your hybrid orchestral music. So those are some guidelines and practical examples of the sound design effects. Since elements that you can use in your hybrid orchestral music. 17. Sticks & Shimmer: Sticks and shimmer, sticks, clicks, and any type of ticking and talking is incredibly popular to use in hybrid orchestral music, especially in the more atmospheric styles. The great part about clicking sounds is that you can easily created yourself by sampling practically anything you hit with the stick, brush, or even your fingers. There are of course, many instruments dedicated to these types of sounds as well. For example, stick its rim hits, clocks, small metal hits, et cetera. All we'll provide a nice atmospheric background rhythm in the higher frequencies. Hybrid orchestral music also often use sounds that I categorize as shimmer. Things like different kinds of shakers, bot wing, more scraping, metal objects like symbols, goals, et cetera. And of course, many types of cymbal hits, from ride cymbal rhythms to cymbal swells for transitions. Okay, so let me show you some practical examples of sticks and shimmer for hybrid orchestral music. So first here I have a track. I call it small sticks. Its action strikes with these bamboo sticks playing a very simple pattern like this. They have this really nice brush type sound. Then you can use more wooden stick hits like this. Little more plaque. This is Studio Armageddon ensemble patch, any type of REM hits as well. Of course, you can create these yourself by if you have a drama mistakes or anything you can use as a steak or brush at home. Sample anything. Creating these click, stick, tick tock type sounds, sticks and rain hits. Then any type of library that really focuses are plugging the focus on this click type rhythms. So this is called vital series stick. So it really focuses on this reading patterns. Here you can have very close sound. Broomstick with O rings on Bruce broomstick. So you get, you can really try this. And the type of sounds like that with a clicky acoustic sound recordings. Any type of clock ticking or metronome type of sounds. So this is lightening x 3M, this library. And here in someone I'm using actually a small clock. Super cool to use in hardware orchestral music, especially the dramatic scores, you can have. Shakers, of course, and the buttons. Button quakes, perfect for this small metal hits or it could be good as well. But let's see. Can be anything from a triangle to brushes on a metal object. And then we get into the more shimmer parts of that was the sticks than the shimmer, for example, shakers of various kinds. And I think from Morocco sukha basest, tangerines, adding that, let's listen to it dry. Whereas push it into the reverb, into the hole with reverb. Other types of shimmer sounds could be tone shaping sounds like harmonics on strings, for example. Or it could be sewell, Pondicherry low, or any type of effect or tone based or regulation on strings or any other orchestral music instruments. Of course, ride symbols. This is from a classic acoustic RAM kit, and it can work well as a background layer in hybrid orchestra music and cymbal swells for transitions. I think I had, it must be at the lowest point like this. So it Welling, dynamic. And that crescendo and answer the final hit, I think this is layered up so we can listen to the everything in action. And this is just sticks and shimmer. No bays nor a hormone is no cords. But I mean, all the, all these elements layered up, we'll create a really cool atmosphere with that hybrid orchestral sound. So now imagine adding some base to that, some hormones on strings and, and all that, or else that goes into your production. But all of these sticks and shimmer have a way of adding tension, drive, and pulse and not don't take too much headroom in the mix. So they are perfect for that. So these are some examples of sticks and shimmer in hybrid orchestral music. 18. Hybrid Track 1: All right, so here's my first example, track hybrid track one. Let's have a listen first and then we will analyze what went inside it. It sounds like this. Okay, so overrule. The tempo is medium 120, and it is in six eighths for that action group. It has a, an overall warm and deep tone focused in the lower ranges and with EQs and filters to push the overall sound to that overall warm and deep tone. The main focus or the stabs, these ones here and the swells in the background here, these ones. So you can really hear that warm tone, deep tone with those. If I remove those, that takes away the focus of this hybrid orchestra track. It has a very atmospheric background make, so these background instruments or very Spacey and wide. And the wide mix and the melody side of things is a very viable textural tone, but it is still in the back seat of the mix. So if you listen to it in contexts, it doesn't really pope. It is laid back. It doesn't feel like the melody has defocus. So that is the overall aspects here of this track. Let's just start going through every group here. So starting with the percussion. So first I have these big drums. Let's see if we can open up and see here what we have. Actions, strikes this preset here, and it sounds like this. So Big Drums with a lot of warm processing. So I put a warm filter on it slides saturation and compression. It really takes away some of that sparkly top end. And it's very low and deep as you can here. Then I have some tomes, and here I'm using a dramatic creator, this roto Tom preset here. But I use a punish plugin which is basically high distortion and some transient shaping to go from this to this. And I'll also remove both the lowest and some of the highs. So it's really processed. It should not be afraid of heavy processing in hybrid orchestral music. Here, very distorted. Then I'm using an ethnic drum kit, which is our sounds like this. And here we have damage, I think drums menu. So, but I'm using a bit crusher with 8-bit resolution to get this class a reverb, get this very glitchy type of sound from this. This. Again, don't be afraid of heavy sound design and processing. Finally, I have some stick hits. Here in action strikes bamboo sticks with an echo effect on top. Get some shimmer, pulse in the percussion. And overall, I'm using a compressor, compression, heavy compression, and some saturation, but in parallel mode with a wet or dry mix here. Yet that parallel compression parallel makes this overall precaution mix so deep focused in the yellow range, loss of saturation and greet deci can hear and glitch distortion. Some high shimmer drive, but generally not too much in the mid-range. So that's the percussion group. Then let's continue with the effects. And here I have some dork impacts, which metallic impacts which are really take the seat of a symbol instead of having a cymbal crashes in the percussion group, I'm using these heavy metallic sounds, but I used them at a transition points between the chord C air, basically where I would have put cymbal crashes. But bit more weight of course, since its impact sounds, I'm using these bushes as whoosh, whoosh sound as transition effects here in the transition into the track. And then the final cadence here. And then here, another one. So let's just show this is damaged. Dork impacts the for the bushes. We have gravity. As menu. So as you can see, all these plugins with sound design and hybrid focus. Then I also have these sweeping drones that uses brands or power notes as I call them like long ringing is sustaining notes in octaves. But here I'm using also a fat effects, so some distortion with some movement in it. Remove the low end and some of the focus frequencies here, and also push it into the mono. So taking away, making it real in Malmo in the center. And these orchestral clusters here, string ensemble clusters just as to finish high tension there. So overall the head get the effects like this. This you should do sparsely just to add a sound design texture. Okay, so that's the effects. Then the rhythmic section here is a very hybrid mix. Let's take a listen quickly or very hybrid makes putting the orchestral and the electronic synthesised version. So we have these ostinato strings, short strings, main drive, where the lower octave say take care of the main groove and then the main drive is from the higher. And I'm using orchestral stabs here. Strings with brass ensemble, staccato. And as you can see here, very sparse. Again, Just as the main group, this is really what takes the focus in this entire mix. The main accents on the rhythm. And together with the ostinato strings. That really gives the energy and pulse. But then we have some electronic elements. So these, I call it shimmery echo. So here is almost fair with this preset. But with some EQ to get rid of everything in the low and maids. And then some echo here in Google modes with two different accruals to get some stereo depth. I'm reverb to get this really high shimmery echo. Since then I have another student which is more of a pumping seen some automation to get this specific place, the baseline, but higher in race of all, of course, and has that pumping sound. And finally, a pulse, low pulse. So I using a base amp on this analog retro Synth. And then I'm also using a delay, but of the words I take care, get rid of all the low range because that will be taken care of, of the low range group, logos of base group. So overall you get this. Okay, So that's to read them group. The lower range is really simple here because I'm using an electric bass line in the s-domain groove and then does double that an octave low with, with a sub bass. And for extra depth. And then I using some saturation here for some power and presence. So it sounds like this without saturation, without surveys. With surveys, you get that extra and then some saturation. And if you'd listen to that in context with the rhythm, the grooves go really well together. So I'm having orchestral sound with some synth sound and an electric bass. So really hybrid mix here. Let's continue with the background folder or group. This is a very viable, very atmospheric. See, I would have a first, I have a heavily processed piano. So without any processing, it sounds like this and arpeggio. Very dry. Then I'm using a fat effects. So this is a filtered distortion plug-in basically making it, I can feel very old, like listening to an old radio or something. Then a lot of delay, but cutting the lows and highs to just get some more space and depth in the middle. And finally, some extra reverb to push it back in the mix. That's cinematic tone. But very As you can here, due to that filter in the first effect. Then I have hybrid breast swell. So this is a plugin called for so library called torso, which is already a hybrid orchestral sounds or sound design applied own orchestra breaths. And then I'm using just to know terminus for the courts here. And sounds like this. And this is the main backing backgrounds. It's tracking the mix. So these hybrid swells again with an orchestral stabs really or in focus, especially since they also fat and have that presence in the high range when they swell. Then some high harmonics. So string harmonics, high ensemble here. This is also a hybrid Castro instrument called novel. And I just cut everything in the mid to low CO2, get only that high shimmer, which adds some tension. And then finally I have this total movements. Plugins are connected methods, really, some breathed me pad, drone basically. It has these bell tone with Spring texture, basic width are unusual. So I'm just went in here and did some random sound designed to get this sound. And all in context, creates this really vibe. The textural and atmospheric backdrop mix, right? And finally, the melody group. So the melody here I'm using first a kind of a synth, a commonality, but it's, well, it's a piano, bass and affected piano. But we'd also echo. And then I doubled that with a cellist higher for some clarity. And then I have this hybrid woodwinds, another hydrochloric acid, again with woodwinds called Vento. And this ambient fluttering, so really cool, rhythmic texture pad over the woodwinds and reinvest be character. And overall, when I lay those together, you get this. Okay, So all of that together creates this hybrid orchestral track, which really is mainly orchestral, but still a lot of strength and electronic elements, a lot of sound design as CAN here. And the final sound really has that hybrid orchestral tone. 19. Hybrid Track 2: All right, so here we have this second track I created for this course to demonstrate hybrid orchestral music. So let's have a listen first and then we will break it down. Okay, So this track is in a medium to low temp or 115. In 44. It sounds even slower because of the long notes duration and the minimal arrangement with, with also gaps in between this motif, rhythmic riff type theme. It has a really powerful evil boasts vibe that comes from these Baltimore call to notes and the high amount of saturation distortion and the reef, a type motif. So it's very rhythmic and refocused, as you can really hear. Is that driving motif throughout this piece. And it is practically evolving Iran, one single quarter they see mine record that goes all throughout the track, except here in the final turn, a flat, B flat, then back to C minor. It has a very synchronized percussion mix with a main accent rhythm. And it can really hear this if I just solo the percussion with the rhythm, the heats or very succinct up to carry to that very powerful and focused rhythmic groove. And finally, it has a melody and harmony group in the back seat. So even if I mute this, you will really notice them that much. Because they are very much in the backseat, just providing some extra depth and complexity with the homeless air and some spatial cinematic vibe, which goes in contrast, basically create some contrast between that and the very rhythmic motif based and tracks in the other groups, especially the percussion in the rhythm group. Okay, so now let's dive into each section here. Sulfur's the percussion group. So the main percussion is these Tikal drums because I wanted to have a very high action focus and vibe in this track. So instead of using deep below cinematic bass drums and cinematic low drums, I'm using Tycho mix because they have more malate and stick sound and a bit more mid-range to get that. Extra sliminess and stick type sounds get way more accented. Starts with mid-range and high range in the frequencies here. So they have really come through in the mix. They cut through more than its deep bass drum. And this way you can also have, since it's not only low rumbling frequency, you can make the pattern more complex attacker grams and it mixed like this is perfect for this action style prompts. Then I wanted to distract you have more and more militaristic vibe. So I went for a very fat snare drum. It, in fact, it was so fat. This is in sampled rums from heavy. Also Tim was so fat that I had to cut some of the lows from it. It's still super fat and I even have some different nodes. So these are actually different pitches, very unorthodox, but it really works in the mix. So you get this. So as you can hear the pitch variation. And together with the tikka dramas, That's the main percussive group. Then I added these metallic percussion. Metallic percussion is an hits, is very much used in hybrid orchestral music because it is very cinematic in nature, but it still has that clear, crystal clear high range hit. So that adds some sparkle in the top. And you can think of this, instead of a classic drum kit with the high hats, metallic, it can be anything from a triangle to any metal object you hit basically. And then finally some symbols for the main accents there. Faster partner shear hits here. To basically elevate it and augment these main accents in the progressive group. So that is the percussive percussion mix. I also added some parallel compression, so I'm using this super charter saturation compression and a warm filter, but basically high amount of compression and then a parallel mix basically in wet, dry knob on the compression. So you get the parallel compressor compression, which really amps up the total bandwidth. Then you really get that. And everything that gets hidden in a natural percussion mix. From mixing in and blending in this super highly compressed, the non compressed sound. So I really recommend using parallel compression, especially for the percussion. So then we can continue with the effect group fx here. And I use it for fair amount of sounds here because sound design elements like this can be really nice for the powerful vibe to mark the accents and the main hits. So first I have heats, an impact track here where I have some low impacts, explosion type sounds and impacts, plus some punchier sound design hits. And those go well with the precaution of course. But not complete synchronization. So it's not mimicking exactly using it. See, this note here is dropped out. So it's not 1, 2, 3, 4 is 1, 2, 4, and then one here. And so I'm variational, of course, in the sounds. Okay, so then I have what I call an electoral brands, Abram, That is not super. Abram could often very similar to a big brass section with bold long marcato notes layer with some distortion, but this is more electoral vibe. So here I'm using Meteor a plugin by UBI. Just playing simple octaves on the root node. Every other bar. And that with the impacts, really get that bold, powerful sound. Then to build some tension before the climax, before the cadence. Here, I have two risers. First one is, let's see. Gravity with a riser energy builder. Some rhythmic aspect to it. Really builds intensity. But I didn't think that was enough to allow you to another one which is a cluster called OEM strings, or releasing this thrill library which is focused on this tension building dissonant clusters. And I added a tremolo to get some stereo information. Also well. And that is synchronized with this energy builder building some tension that before the final hits in the cadence. Then I have what I call a rumble risers are low rise restores with a low rumble note and then with the swoosh at them. As a transition into the weather track starts. And finally, I have a hybrid orchestral brass plugin. So this is a four. So with the brass designer, some sound design movement here to get a crick. This really cool hybrid sound design, brush swells. And I had extra cinematic reversible top to really push it into the room. So overall, the effects group sounds like this. And here we could also hear that breath swells are actually also increasing tension by building here, going up here in harmonies. So the intervals used for the hominis, except the final one which goes down for that ball. The final note in the cadence. So that is the effects group. Let's see, I'm also using the an image is stereo image plane and pushes it to the middle. Instead not increasing the stereo field, but actually wanting to push it inwards to leave room in at the sides more for the rhythm and the atmospheric background sounds. So that takes us to the rim section where the main drive comes from, this string, ostinatos. And it's him phobia hand with staccato, extra short strings, just creating this pattern. And it can really hear that I have this base group, damn, damn. But I also augment by layering in Octavius where the main roof comes bad APA, but above that, above. So you get some syncopation in the differences here. But then when I want to augment it really elevate that reef. Labor in octaves, super, super. A powerful, then to get those main group accents to really cut through, I'm using these stabs for boosted accents. So orchestral stabs, Marcos, this case, speak out those Chelly plus basis in octaves together with the ostinato strings. And this way you get a mix of color, but also some syncopation in between these two is because this one is more sparse. Task a sped up, bam, bam, bam, bam, and so on. And layer on top, it's really lifts that power. Then I wanted to elevated even more. So I use these or Castro staccato seem phobia layering strings, staccato, staccato and low brass, etcetera. But also putting a distortion plugin. So I'm using this one is called punished by heavy also do with a high amount of distortion to really make it cut through, listen to, without, but with listen to the grit. Sounds really destroyed. But that adds to the power if you listen to it in the mix air. Okay? And then I have low, we're marcato strings here just for those main power nose and the main roof notes. And really bold marcato sound plus it was not bold enough. So I added the decapitate or which is a, not a distortion plug-in at a medium Dr. To really get this at really important if you want and motif or reef based track like this in your hybrid orchestral music to make sure those main reef notes are layered a lot. So you can hear those in all of these sections here plus the percussion. So now we get all these four tracks. Really, really powerful. And that was low marcato strings. Let's see, I'm using him, know VO, low and sabo more call to there. Then we have the first synth track here in the written section, which I call eco driving sth, a Patreon and an analog Moog synthesizer called diva. And then I added the base damp and then a replica which is an echo effect before it sounds like this. So I'm using just a 16-year-old arpeggio, but since I only hold one note, it becomes basically irritate me. Gauge type effect with 16th notes. It's to present. So I'm using a base amplifier to push it into the mix. And then a replica to get some space. And finally I have these, what I call noise seen through them. So using Omni sphere here and basically a noise waveform. And then I added an EQ to cut everything out. I just wanted this mid-range here and a face or to get some stereo movement without takes too much headroom in the mix. So heavy filtering and then this phasor to get some movement modulation. And all of that in the rhythm section sounds like this now. Okay, so that was the rhythm section. You coded, for example, that if you have don't like this, destroyed a whole orchestral ostinatos, you could change that, for example, for the new electric guitar or something, or even lower brass staccato stabs. But you really hear that bold, powerful sounds coming from all those layered tracts. So if you go to the low end, by the way, in the rhythm section, I forgot to mention that I am using a warm filter, some compression in some situation. And I make sure to cut the lowest range below 100 hertz. And I'm using a stereo image or to increase the stereo width. Because I want to leave the middle, the central position plus the lowest range for the, for the low-end Tracks via the low or base folder. So the main sound here is what I call fat or deep ACO basis in. So I'm using retro sent an analog MOOC style synthesizer. And with a Warm setting. Then I added a replica, also an echo effect. Well, but I make sure to cap the lowest range here so you still have that low-end clarity. Some EQ, because I want to make sure I leave room in the lowest bass frequencies actually to the sub bass, because I'm going to layer this not really that lowest base because it's a sub bass, takes care of that same sample. Smooth waveform. If you have a sine wave synthesizer, those were pegs, works best for sub basis and then just layer to an octave below, can barely hear it. Then finally, I add some saturation for power. I like using the saturation and no, because you can choose these keep low setting to keep the absolute lowest range clear and focused. And then you get this. And you can hear that groove again. It mimics the main motif and Wayfair with the rhythm. So it goes very well with the rhythmic groove. So that's the low or base group. Let's continue to the next one, which is the background tracks. Very minimal tooth tracks, a cello harmony track, so a flatus, minimal, shallows legato. And here I'm using this because I want a minimal approach with the long notes only to know terminus here. And some dynamic curves of course, with the dynamics just to get a beautiful sound. And that creates a lot of contrast compared to the rhythmic riff driven groove. Contrast is great music for, not only for interest, but also for to make this feel even more powerful by contrasts. And then I have these. So low woodwinds for adding some mystery. If it goes low woodwinds with long nose like this. Let's see if we can just, so the woodwinds here as a lot of mysterious vibe. The low range woodwinds. Long notes below, dynamics. And together the harmony sounds very minimal and lyrical. Here. Again, just like I did earlier, with a brass swells. I'm rising here. I have this kind of drone thing here. Going on with lower harmony is C, right throughout. But this one moves a bit and then it rises in the second part here to build some tension that goes very well with the brush swells plus the energy builders. So finally, the melody folder. Here we have a simple piano melody, which sounds like this on its own, just playing octane melody like this. Pinging piano sound. Very, very, very simple. Just using Ohm's or key Escape, I think for this, this LA customs C7 but are using effects to get some filtering down and some saturation to make it thin but still present. No low-end basically. And then I am adding a delay, cutting the lows and highs extremely much here and a reverb to make it more cinema, cinematic. But sounds almost like a dad. All the tape Recording heptane and put into a big reverb. But it really add some dimension to the overall mix. So now that you have seen everything that went into this track and my creative choices, Let's have a final listen so you can really focus on all these elements in context. So it sounds like this. 20. Hybrid Track 3: Now let's have a listen to hybrid track number three that I created for this course to demonstrate hybrid orchestral music inaction. It sounds like this. All right, so this track is in a kind of slow tempo in 44100 bpm. And it sounds slow but fast that at the same time because you have is longer harmonies and nodes together with this pulsing sound which adds some energy. So it really has a dork and evil Vive and mainly coming from the low basis and brass plus the, of course, the chord progression in which you can see up here, if minor to D flat minor, this is a very dissonant change and sounds super dark and evil. It also has these high tension and drama field based on the powerless and ticking together with a lot of these tension effects added. It has a very low range focus, meaning that the most of the harmonies and sounds or playing in the low ranges below middle C. And it features a lot of long sweeping nodes, as you can see here in the hominis. The basis, well, low-end parts plus this ticking pals may come from precaution. Ticking sounds, even the rhythm section is more fishes on creating that. Paul's more than creating a motif or refer anything like that. And finally, the track is basically only harmony plus rhythm without a melody, the melody group is in fact completely empty. Let's dive into the sections now. The percussion here is based on layering titled rums. So I have some big Tyco drums as the first track. If you open up and see, we have Tycho massive example here in action strikes, which sounds like this. So those are the main hits. Then I add another Tycho library, which is more mid-range focus, some mallets and steak sounds. Together with big guy goes and he gets this layered sound. And here you start already here that ticking pulsing character of this track, which is super, super popular in hybrid orchestral music and scores. Off that I add. I often like to add metallic percussion, metallic hits for party, forget that industrial mood, which is very dark and gritty, but also for some clarity. Because they are layered. And you get that high-end shimmer. So listened to very simple pals, 1234 and so on. And then I have a ticking sounds, real ticking sounds actually based on a clock here in lightening X3 m. So this is the small clock just ticking along with the eighth notes, 121234 and so on. Plus another clock ticking. Let's see what this is based on. Click clock tick number two as a layer which only has one shorter nausea. And he at least really organic feel on those together. Really adds to that as dramatic suspense of the palaces. And finally, of course, some symbols for some shader and access. And overall, I actually went this time with a bright tone here, which is basically an EQ slash filter to bring out the shimmer and clarity in the percussion. Some compression and saturation as always. So on the whole, you get this percussion mix. So as you can hear, the main, the low range precaution here is very spores that are the dam and then lots of space. But all throughout the piece hear the ticking sounds here from the metallic percussion is clocks here create that suspense. So that was the percussion group. Let's move on to the effects here, where I have first some explosive impacts. Just marking every bar basically adds to some power to the already a dramatic percussion by laying among those on the ones. And then some bush hits. So bushes, short whooshes is that builds into hits like this. And again. And they've, since they have that long rhenium sustain its like a Washington kind of a goal type hit, which is really great for that release. Sal, the tail in the sound. Together with this hit. Yet a Super Bowl them powerful sound ads subtest suspense again. Then this dramatic Rome sound for ambiance with some rhythm as well as in it. But more in the mid-range, not the low range. Long ringing sustain again. And as you can see, I play those only when the F minor chord is into play here. So if Myra then go to D flat better than when I get back to F minor. So after four bars here, it comes again and again of the four bars in the final F minor chord. So this is just f, of course, the root note. Finally, I have a riser, swoosh kind of sound here. Did I show you the just showed you what this is. So this is Meet Your which is the swash going kind of effects the energy Bilder builder is gravity by heavy house today, the high rhythmic drone is draw owner. Really cool for drones. I like using it. I also recommend using these special type of libraries and plug-ins that focus on one specific field of Psalms. Finally, I have the swash here is rice and hit by native instruments. So that is the effects track. And it again, often do. I actually would reduce the stereo field in the Effects category because I want to leave room in the size for especially the rhythms and the rhythmic sounds and the background and the hormone is to get more ambiance and atmosphere from those. So moving on to the rhythm, then we have first these ostinato strings, which are very simple and minimal. It's only one note, like a palace pulsing rhythm with this little occasional leap year in interval like here. But when you add these orchestral stabs, so let's see these ostinato strings or seem phobia, staccato, then orchestral stabs here, I'm using palate, which is cello, and bases in octaves, just to mark these main accents in octaves. Main groove or the rhythm. Together with his pals, ostinato, you get. Alright. Then I had actually added some staccato board wins for that windy, a little bit of a mystery here. Just playing simple short arpeggios like this. Okay, and then getting into the electronic part here I have an arpeggio synthesizers. So here I'm using a lot. I'm using a supercharged a plugin with some compression is that ration in warm filter replica echo effect. A filter freak to add some movement with a filter automation tremolo at some stereo field, and then push it into the room with a reverb. So without all of these, let's just see. It sounds like this. I'm using a div up and analog Moog synthesizer with an arpeggio at 16 for me, up and down. And gastric holding the courts there. But with all of these automation, modulation effects plus space affects your test. Really cool driving arpeggio. And then you have these, what I call plucked strings effects. So here I'm using an acoustic kick, plucked. Hey, so I think here in Omaha areas there's trillion actually. And then I'm adding an EQ plus an, a tremolo forest, some spatial, but just basically a quarter note line here. Also again the sum, creating some pulse. So overall, the rhythm section, I also added some warm filter to push it into the mix more, some compression saturation. But more importantly, this theory enhancer to push it to the size a bit to get these more bigger, wider sound. And it sounds like this now. Okay, and here in the final part, you see this upwards movement to build some tension. Let's listen to how that sounds like. In the workbench. Rabidly, some tension which would go well with the energy bill there yet in the end, going into the low range group here, starting with a quarter note, I call it an echo deep bass, just quarter notes. And then I added an ACO effect without the low, low, so low cost and high cards here. And some EQ to get rid of the low CRT, leave room for the sub bass. Sounds like this. Yes, That simple quarter note pulse, adding on top of that basis and channels in octaves, just playing long nodes with dynamic curves like this. Layering based double basin and shadows like this in Octavius is one of the most powerful ways to get that bold bass sound. And together with the ADA echo deep bass, synth bass in the palace with a long powerful loads as contrast. Then some added actually low woodwinds, also layering the yellows here, plus tuba solo woodwinds, which I always think sounds dark and evil. And then some tubas for even bolder sound. So I'm using, for this, I'm using double basis from BBC Symphony Orchestra. Shallows from F lattice strings, a, cello, so kind of big section then low woodwinds are from Symphony essentials would win insoluble. And the tubas are, let's see, from four. So one of my favorite breaths, libraries, especially for hybrid styles of music. Okay, so then finally I added a sub bass, which is just omni sphere. You can use any synthesizer. We'd have pure sine wave and a filter on it and then laying it on octave below. I guess. So. You get that really deep at a depth with the sub bass. And finally some saturation, keeping it below CR just to add some more focus and power to get an overall low end. Which sounds like this. Let's see. Super Bowl than powerful but, but still with that low pulse feel as well. Then finally the background folder where I have the hybrid brass, you seeing him for solo brass designer with a poor tau2, basically a sound. So more like marked chords here. For Tottenham. And I'm using XR reverb from east-west spaces for a big cinematic sound. Then the pads that I act actually alternate, as you can see here. First, the brass were taught denotes for one bar than the pads. The string-like pads with an added tremolo effect for some movement. And this is just ominous sphere with a Hollywood studio string section. So string-based pad for that shimmer. You the full chamber. And you can hear the dairy movement. And when you alternate between these, you get these bold lower sound of the brass portal tools, courts. And they beautiful shimmering contrast here with string pads. Then we have a cello playing your homie, two notes harmony. And here I'm using minimalists, shallows, nephrologists. So only four shells. Small resection for more delicate, fragile sound. Finally, I have these horns playing one note from harmony line basically in volume with a chord progression. And I assume yes. Let's see. Yeah, just to get some of those marked beginnings of each node, then I actually used a new filter, sweep Pierre, to add some modulation and movement without it. Sounds like movement. Yeah, that filter for an overall background section. And by the way, I'm also using some Iike and background section here to remove the low end and what I call the focus frequencies from one to three kilohertz, which we hear the most. And you really want to choose which instruments and which groups should have the space, because that's its clarity and focus frequencies. And of course, the low range space dedicated to the low range group. So here is the final background mix, right? And that takes us the final track again. Let's have a listen. And finally, now that you know all the instruments and parts going in it's final go through. It sounds like this. 21. Hybrid Track 4: Now here I have a track number for that I created for this course on hybrid orchestral music. Let's listen first and then we'll do the breakdown. It sounds like this. Okay, So what we have here is a medium tempo, 120 in 44, but with a very slow vibe even though the BPM is 120 and that's you did to the spores precaution. And the especially the longer notes both in the lows, the background and the middle. The ports are very, very long, sweeping tones. It also had some very bold and powerful vibe, but also a kind of mysterious vibe. And that's mainly because it's in minor going here. It's E minor, but also because it has those long notes add more mystery than it creates energy and pulse. We do have some rhythm and palaces, but it's mainly a long sweeping harmonies and melodies kind of vibe. It also has a very, very low range focus, meaning that most parts are written below middle C. And also the tones and EQs and filters. And sound shoulders really pushes the track towards that deeper. Lower five. Hardly any high range sounds at all, not even the percussion. So as I said, we mainly have long sustaining notes. You check all the logos, harmonies and melodies. Some quarter notes here in the melodies, but other than that very, very long notes overall. And finally, the harmonic and melodic parts. These ones I have the background, the melodies have a very huge atmospheric depth, so really pushed for back in the mix and very wide stereo field, creating this very cinematic far away kind of sound. And that adds to somewhat to the mysterious vibe. Battles with the long nose creates that bowl them powerful vibe here, some for sandals there with, with the horns here, for example, to mark the beginning of the nodes. But other than that it's long sweeping notes. Okay, So let's dive into the sections now. For the first section, the percussion here, we have the big load rounds, the bass drums, or very low range and deep palmar focused. Um, so let's see, we have actions, strikes, tack a full ensemble. Not too much Salaam slamming frequencies, but more that very deep and cinematic low end layered way, the tackled rums and it also there you can see it is very sparse. Here are the big low drums. That gives the track room to breathe some air in between the nodes. The same goes for the next one, which is more Tycho drums. So here we have Tycho creator, but it's more focused on the mid-range. Even have a warm character here on them to push them back. With more with a big ramps. And the only other high range part I have is these sticks. So just to stick hits, just to add some energy and pulse to the percussion. I have this symbol strike, but I ended up not using at all because I really don't want any amount of hi Orange focus here in the percussion because I wanted these deep and low range tone over all of the track, these mysterious vibe. So I opened for not having any shimmer and symbols, kinda sounds and the percussion. I also have a very warm processing. So as you can see, war and power here, the tonally can use a filter EQ for this. It's basically the same thing here in this plug-in. Some gentle compression and some saturation. And that creates a very deep, powerful sound. And I even pushed it into the middle because I want to leave room and I often do this with a percussion actually. It pushes inwards who leave room for the melodies and harmonies to have that wide sound. So that creates a mix of the percussion group like this. As you can hear, very much focused on the low range. Then if we get into the effect group, I don't have much here actually, I, I started with some power notes to enhance that bold, powerful character. And I use this, this is much used in hybrid orchestra music. It can be brands, any type of long sustaining those with a very extended start and high dynamics. So I'll call this an electoral bram, power note, it's the UBI meteor plugin just to give this single node, the root node of each chord, every other bar. For that bold power and translation rise or any kind of Bush risers is basically mandatory hidden to use in hybrid orchestra music, rice and hits, and it sounds like this. The acid transition into the track and then finally at a cadence here. So basically that's very simple. The effect parts. Now we get into the rhythm section. You might not really focus on the rhythm part because the focus in, on these long sweeping nodes in the base, harmonies and melodies, but they are there. So we have first, what I call an echo deep base is just an analogue synth sound here with added echo. Very warm, wide sound. And with the echo. Let's Make sure you cut out the low ranged from the echo on low range and bass sounds. And then an EQ just to cut out the highest and the lowest range because I want to leave that for the other bass tracks here. Then we have some ostinato strings with a simple 8-note kind of drive. Okay, So this, I actually heard a Ronald's That should be there. Yes. An eighth note, 112341234, with the main accidents of the group, marked by doubling with an octave lower here. And that is also layered those lower accidents with a low stabs here, orchestral stabs, palette selling bases in octaves. Anything you have, you have like the stab kind of sounds, especially on strings or brass, works great for mocking the main groove in the with accents here. And that layers with the ostinato is lower. Ostinato notes. For the main access. The ostinato strings, by the way, is some phobia, short strings and sample here are paid yields synthesizer. Well, I have this with very big space and depth. This seventh arpeggio. Because if you reduce, remove all these effects, I'm using DeVos. This arpeggio, and I recorded myself. And here's some modulation with an LFO here it has a very cool, warm but also sharp, sorry, detail at electro character, little noise character. Then I push it back in the mix with a tone filter on warm here are some compression, high degree of saturation. Really gritty as some delay echo here, cut the lows and highs. Making more cinematic, adding a tremolo to get some stereo movement going on. And finally, an EQ to really take away all those lowest frequencies because it should not interfere with the real bass tracks here. Because those we have in the next group. And then I have a pizzicato, strings here, which is a father's violence pizzicato. And just a simple, very simple pattern here, arpeggio pattern like this. But I added. Echo delay on it as well. Because I wanted some more cinematic sound for it. Counts the highs are mainly the lows here as a simple dotted eighth notes echo. And on the overall rhythm group, I'm putting a warm filter as well, some compression saturation, but basically the water-filter, just basically an EQ or filter to reduce the clarity and focus of this rhythm group. I'm also doing it again here with an EQ. Just cut out some of those focus frequencies between 13 kilohertz here, 12 and remove the lowest flows because the base group with take care of that. And I'm also increasing the stereo field of the overall group. So the rhythm section overall, these hybrid orchestra track sounds like this. And you can see the harmonic progression up here. E-minor is very simple. Long, cause court specifically two bars before each core change, E minor, E minor, a minor, a minor, B, B, and so on throughout the entire track. So there's some minimal harmonic changes with the chords. That takes us to the base group or the lobes group where I have, where you can really see the long notes for that powerful anchor or the harmony E here for the entire tube balls with the E minor, and it goes on throughout the track basically here with the just follows the root node with no real harmonic movement. The movement comes for those dynamic curves like this. In all the tracks basically have that dynamic swelling and train. It also changes the tone, of course, over the acoustic instruments. So a sub bass first here for that really powerful depth, just a sine wave or trialling triangle filtered very low octane double basis here. And I'm using the BBC Symphony Orchestra strings basis, just legato notes, long ones. Together with the surveys that I double the double places where the two bus, just to get some coloring over those notes and amusing long sustains too, but from four so and a low dynamic layer laying in their little dynamic range. But when I double it up, you get this low brass, the double bass strings sound. Then I also layered with low woodwinds because I always like the low woodwinds to add that mysterious, dark and almost creepy kind of vibe. Woodwind insolubles input essentials. So when you layer all that up, and by the way, I'm practical always on the base group adding saturation for the harmonic density and power in the base. I'm clarity, but keeping the lows intact. So you get this overall very bold, powerful sound with it also colder from the layering. Okay, so moving on to the background group, very simple just to shallows and brass. And as you can see if I go in here, long notes, long, you know, following the chord progression. No voice, movement. Basically the movement comes from the dynamic curves, expression curves and not the voice changes. And that creates a very stable harmonic anchor for the pace. So first, first we have these shallows, which is a small set cello section gas stem for shallows. And I also removed the close mikes. It's a minimalist channels, legato, Apache enough. Lot of strings just get this very beautiful, delicate. And with string is especially important for strings, but many orchestral instruments. If you have a harmonic movement, like going on, check the connecting chords because if you can keep the note von of the voices, it will sound so much more smooth. So that's what I did here and here and here and so on. So that's the channels. And then I also have these brass ensamble patch from some phobia. And those are Octavius, I think, yes. It's just octaves of the root note, but it has a lot of this long. Low brass really creates that bold and powerful sound and noble character. If you listen to them both together, just to shake with the EQ, I pushed it back in the mix by cutting a lot of these 123 kilohertz focus frequencies at the base, of course, because we have the base group. So you get this final sound. Okay, Sorry about the clicks that my computer is struggling to record at the same time, the video, finally the melody group it, attack. It's actually very simple because it's long bald melody notes. So if you checked only these, you can see the longer notes. If I zoom in, you will see it more clearly because it's long half-note, say a quarter note there. Half-note, even longer than a whole bar, and so on. And it's only unit impulse, octave layering. So if you check here again, these are either laid in unison, so they are behind here, or they are laid in octaves, as you can see up here. So the melody is super clear. And that is really good if you want to have this very powerful, clear and focused sound of your melodies, laboring units in the Octavius. It also has a very perfect seems plus hybrid plus orchestral mix. So we have a synth pad, which is creating this electro vibe, but also these eighth is kind of pad. Lot of cinematic depth. So that's the scene 5. Then. Hybrid sounds, an acoustic orchestral Vibrio plugin that has the hybrid character older dislike for so cinematic or brass designer, which creates days. And you have some shallows, layer on top. So a flattened strings, impressionist shallows. You ask long nose falling. Same mindset here. Some Viola has also just an octave higher, missing this violence legato patch, also involving three violas. Because I didn't want to be too thick sound because the thickness is created densities created by laying or results. Finally, I have this. Who wants patch, which is from force as well. But I'm using this for sotto setting because you get him more accented start of each node. Which can be really nice for melodies. Or anytime you drew the water, he are clearly each note in the arrangement. And finally, I'm using some, I'm cutting the laws. Always basically on every other, every group except the low-end group. But I'm using a brighter tone in this case. So bright character basically it's like boosting here, the higher range frequencies, quite a bit of miles saturation here and some compression because I really want to be heard even though it's far back in the mix with his atmospheric tone. And I also have increased the stereo field to make it more thick and wide. It sounds more powerful that way. So overall, the melody group gets this sound. I think I forgot to mention also that there's a lot of movement with dynamic and expression currents, but also some rhythmic movement blended in's here from this hybrid course. So brass designer preset. So that's all read hybrid sound design of an orchestral instrument. So that's the entire track. Let's have a finalist and now that you know what went inside it and the creative choices. And that will continue with the next track in the next video. 22. Hybrid Track 5: So this is track number five that I created to demonstrate hybrid orchestral music. Let's have a listen first and then we'll break it down. Okay, So this track is in a slow tempo, 105 VPM in 4 four. And as you can here, it has a very atmospheric and ambient overall tone, but also an introspective and beautiful vibe, the overall mood of this track, as you can see also here, there's no percussion at all because I wanted this to be a hybrid Castile track with that atmospheric, beautiful backgrounds music style. And it has hardly any rhythm. It hasn't written section. But it's really these long melodies and harmonies and tone color changes that are the focus of this track. Okay, so let's check the actual section. So no percussion. The first one here, the effects, very simple. No mega hits, no impacts or explosions, tension builders and bushes, just one track and this ambient texture, which is a noise escape patch in Omni sphere. And it sounds like this. And by the way, I added some tremolo to add some stereo movement. If you just listen to this alone, it has that almost scary movie kind of vibe to it. But just add some atmospheric get texture to the track as a foundation. And even though it is basically non pitched, I'm actually using the root node for each chord just to get some, you get a new node start here for each chord changes as well. And by the way, you, regarding the core changes, as you can see, very simple harmony, harmonic progression in major here, F-major. Next more F-major, so two bars per core. And overall, the very major sounding viper, that beautiful, nostalgic character. Going into the rhythm section, we have some ostinato strings, but it's not a traditional starter is to note harmony more like a rhythmic comping pattern that is very simplistic in changes. So it acts like an ostinato, but with two notes at the same time here. And also there is an phasor on top of it. It adds this really soon. The texture to it. Without this is the natural orchestral sound. With this, you get this more seemed like character. Just comping simple eighth note pattern, following the chord progression. And then to accent the actual main groove, since there is no percussion here, I have this low orchestral stabs, you saying, I liked, really like this patch. It's shallow and bases and octaves, we'll just pick up the patch. Pellets is called. And you see here is a very simple. Since these main ostinato line doesn't really have any main groove, just an eighth note. Running ostinato. These two together create the main, basic, main rhythm. Continue with a low and slow. So in the pulse of very simplistic, so few notes per bar and only one note chord, the root note here. But I'm adding some echo as I always do. It's very good practice to use some pulses, especially since pulses at a echo. For this, I'm using retrosynthesis logic, just an analog Moog style, low synth pulse. But I also wanted to add another synth layer. So I'm using this diva analog MOOC South synthesizer with an arpeggio at 1, 8 or eighth notes. And a lot of effects here. So super charger where the warm filters and compression saturation, an echo effect on top of this. Just cut the lows and highs. A thought dotted pattern here, a tremolo to get some stereo movement. And then of course, some EQ to get rid of the low range. And you get this kind of sound. Just a chord progression. A very soft sounding arpeggio, stereo movement in it as well. And finally, I have this hard palate harp here with Nadia hallmarks that to close and Decker, very light pattern here, but it all only place our PAD your up and down here for every other bar as you can see here. And then air. We breathe. Always make sure that you have some air in between your phrases in your music. It needs it for headroom, its needs it for variation, and let other sound callers take over on those parts. So those were the rythmic, rythmic section. Always some compression saturation, a warm filter, but also increasing this area with some welfare. A continuing with the lows. As you can see here, if we go in very simple long to borrow notes of the root node of each chord. Which makes it very simple, minimalistic, but very powerful. As an anchor for the hormone is that root node for each chord, the double basis. Take care of the main base here. I'm liking it. The BBC Symphony Orchestra, the basis here. Will they go through articulation? And you can see the dynamic curve is automated of course. Then I doubled that with the two bus here. Using for so long sustains for this. And as I always do on the load bus, some saturation, but keeping the lows here. So the lows really have that minimalistic but powerful character, a continuing with the background group. So this is actually if you just take a look here, alternating cord color as Bigfoot first-quarter on this instrument. And this will hood woodwinds there, but then there's a space or a gap in between and this one takes over. And that could be another good technique for creating interest without really changing the hormone is the course or anything. It's just a change in the tone colors. A very, very powerful in hybrid orchestral music, especially since orphan, the harmonic, the chord progression is very simple and there's not a lot of harmonic or interval voice movement going on. So first I have this, what I call suite hybrid strings. So it's a hybrid strings patch in on this sphere. Now it's not obvious, Ars Nova, which is at high bred orchestral strings library already has some movement and sound design applied. And I'm adding some warm color here with the character on top, which basically is as a filter in that top range to make it really warm. This huge reverb that makes the sound sustain, very soft and sweet. Here. Then I have this hybrid winds, which is similar. It's also library by heavy all city called Venter, which is a sound design hybrid orchestral woodwinds plug-in. And it has this kind of flutter rhythm inside it, but still that add ambient atmospheric vibe. And finally, the synth layer is in homosphere, I believe. And it's what I call a shimmer pad with motion. So adding that top range, high range, but also some LFO modulation to create some movement. Over time. It sounds like this. Almost a bit of rhythmic movements. And all of that creates a background group, something like this. Super sweet and beautiful sounding. So that takes us to the melody group where as many times in especially hybrid orchestral music, whether melodies should be simple in most cases. I'm just layering in unison and octaves, and it's basically mainly lonely nodes. Shortest ones are basically this quarter notes. And let's see how that sounds. Let's start with checking the internal instruments. Harrison, an electric piano which is layered on this sphere key scape actually. And it's a vintage vibe electric piano plus and homeowner guitar, that finger style patch here, which creates this battle like tone. That's why I call synth Bell first. Stereo movement inside it, I have shallows layered there, an octave lower from a chamber cello. So only for shallows for more delicate sound in sore DDA mode, which is a softer sounding while they were you mute the strings basically get that soft blankets type of sound. And this continues the soft sound with the horns, soft horns, which I'm using a force about this PPP pianissimo Sustain, which is a very beautiful, soft, warm tone. But it's still a hybrid sound. Works well in hybrid. Okay, So music and the final, I have a flu tier with heavy vibrato from master solo woodwinds is the library called just a legato national vibrato. So finally, I actually use a brighter tone setting to some saturation to make it come alive in the mix and really be the focal point even though it's so minimal and soft. And as well increasing the stereo width. I'm usually doing this on the main melody group because it really makes it pop and be clear in the mix. And that's basically it. So let's say you finally son, now that you know what went inside the Subtract very simple but very beautiful, nostalgic and almost romantic character. And it sounds like this. 23. Electronic vs Orchestral Blend: Electronic versus orchestral blend. Hybrid orchestral music is a blend of electronic and orchestral instruments. However, that blend can be tilted towards one or the other, meaning the music can be more focused on the electronic sound or the orchestral sound. Not only that, but the hybrid mix can change during the track itself. And on, for example, a soundtrack to a movie, for example, the electronic versus orchestral focus. The blend can be huge difference on a track by track basis depending on the scene in the movie or game. Examples of hybrid orchestral music with more orchestral focus, or The Dark Knight, I'm not a hero from legacy, recognizer, and Inception dream. I've seen some examples of hybrid orchestral music with a more electronic focus or Tron Legacy, the grid, June, dream of Iraqis and Blade Runner 2049 memory. The most important thing is that you are aware of the electronic versus orchestral blend your music store. So try to experiment with the two sides of hybrid orchestral music. Electronic focused versus orchestral focused. And don't be afraid of changing the focus over time during your music composition. 24. Epic vs Atmospheric: Epic versus atmospheric, hybrid orchestral music includes a huge range of overall sound and moved from hard-hitting trailer music to atmospheric underscores. The epic sound of hybrid orchestral music is favored in trailers than dramatic action scores. Here are some examples of epic hybrid orchestral tracks. I want you to listen to Spotify or wherever you listen to music or the machine, flames of colossal trailer music. Will we ever die? Pause, simmer. Dream is collapsing from the inceptions on Greg's. While the atmospheric mood is very effective as a background emotional support in soundtracks, which leaves more room for vocals and sound effects. And here are some examples of atmospheric hybrid or Kessel tracks. You can listen to an analyze. Harry Gregson Williams. See you on the other side from Call of Duty. Jeremy soul, ancient stones from sky room, and Thomas burgers and enigmatic soul practice creating the two extremes of hybrid orchestral music, epic versus, versus atmospheric. But also try to find the gradients in-between. Meaning, for example, dramatic action without becoming too epic or subtle, underscore without becoming too ambient. Good luck, and have fun experimenting with the epic versus atmospheric mix of hybrid orchestral music. 25. Congratulations: Congratulations my friends. You have now learned the main guidelines, practical tips, and live examples and insights into hybrid orchestral music, from atmospheric and ambient to action and drama, too hard hitting and epic. Now make sure to practice everything you have learned in this course and create, experiment and master the power of hybrid orchestral music by learning from doing. Good luck and keep making more music. My friends.