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orchestralmetal.com is now accepting cryptocurrency for music services

22/2/2018

Here's a quick notice to state that in addition to traditional forms of payment, I will also now be accepting cryptocurreny in return for my creative, technical, and educational music services that I provide through this website. These services include virtual orchestration, arrangement, composition, transcription, pre-production, production, music workshops, and private tuition.

Donate with Crypto

If you wish to pay for my music services with cryptocurrency, feel free to use the 'Donate with Crypto' button above, after we've discussed and agreed upon rates for the music services you require. However, I will sort out itemized prices and payment buttons for each individual service soon, so this is a simplified and temporary solution.

Above is a list of the cryptocurrencies that I will accept through Coinbase Commerce - feel free to click on the link to check this out for potential implementation with your own business if you are interested.

Additionally, I will also be accepting payment through musicoin, which is a cryptocurrency designed and dedicated to creating a fair deal for musicians and their fans alike. Click the image above to check out this currency in more detail via my referral link, to discover more about how it will revolutionize the way we listen, buy, and share music.

In other news, I am currently consulting on the final mixes for the Terra Odium album (which I orchestrated), and creating virtual orchestrations for another Norwegian progressive power metal band, Mindtech (click on the banner above to hear some of their music) - everything is moving forward very nicely, and I look forward to being able to share some of this new music with you in the near future!

Virtual Orchestration Workshop: ETIC_ & Rock 'n' Raw estúdios (Lisbon, Portugal)

9/11/2017

On Thursday and Friday last week, I gave a presentation on Virtual Orchestration at ETIC_ (Escola De Techologias Inovação e Criação), Lisbon, Portugal - It was a fantastic experience to have the opportunity to share my perspective on virtual orchestration with a room full of students in a fantastic independent and creative education environment.

Big thanks go to the staff at ETIC_, including André Prista, João F Gomes, Nuno Rua, Pedro Casiero, and Fernando Ribeiro of Moonspell for making it happen - I will return whenever possible, as there is so much more to share, and so much more to learn!

Extra thumbs up go to João, who introduced me to the spice armageddon that is Cape Verdean cachupa cuisine! It was delicious though, especially when accompanied by Portugal's finest beer: Sagres...!

On Saturday, having recovered from the exotic food and drink excesses of the night before, I followed up my presentation at ETIC_ with a more improvised and responsive virtual orchestration workshop at Rock 'n' Raw estúdios in Lisbon, which allowed for the participants to discuss and troubleshoot their own works-in-progress with me.

We even made time to take the workshop to the local cafe (of course!) for a breather, coffee, and croissants! My apologies go to Hertz, who, joining the workshop over Skype wasn't able to appreciate the quality of the pastries and beverages during the intermission.

Much appreciation goes to Mariangela Demurtas and Bruno Jorge for supporting and setting up the workshop - it was a blast!

Out of gratitude to all those who attended the workshops, and to further support them with the development of their own virtual orchestration projects, I have I included the notes that I prepared for the ETIC_ workshop below, with links to useful charts and diagrams as well.

For examples of my own virtual orchestrations, feel free to explore my portfolio page here.

Chapter 1

Creating the right momentum and developing the melodic structure of the song through the intelligent use of the orchestral arrangement.

Workflow

•   Listen (style, complexity, feel)
•   Analyse (structure, harmony, motifs)
•   Ideas (3 C's: compliment, compensate, catchy)
•   Arrangement (interest, clarity, flow)
•   3 D’s (development, dynamics, details)
•   Pre-Mix (EQ, PAN, REVERB - consult the producer on what they're expecting)
•   Export (group buses, labeling, format)

Where do these instruments sound their best?

   •   Familiarize yourself with their sonic character and frequency range (Consult chart on external site)
   •   Give instruments specific pitch space (this facilitates easier EQ tuning)
   •   Avoid crossing parts to create clear voice-leading
   •   Be aware of the similarities between instruments, and how they can fit neatly together
   •   Is it best to pan the instruments like a traditional orchestra, or more in keeping with a modern mix?
   •   Be creative with the panning and reverb to work with the band instruments

Is there any room for the ‘players’ to breathe or rest in this music?

   •   “Rests are like windows - they let in fresh air” - David Fanshawe (British Composer)
   •   Punctuate the musical ‘text’ with spaces between the phrases
   •    Cross-fade between instruments/sections to hide breathes, facilitating flow

Is it always effective to just double the instrumental parts played by the guitars, and bass?

   •   Don’t always double the band with the orchestra - this can weaken the band's sound in the final mix
   •   If you do double the parts, do so in detail to create synergy between the instruments

How can I make the most of the orchestral resources that are available?

   •   Be creative with instrumental combinations
   •   Less is more (most of the time!)
   •   Limitations can stimulate innovation
   •   Try not to get stuck in a fixed way of doing things
   •   Making use of virtual instruments with multi-sampled dynamics will give you more orchestral colours

Chapter 2

Refining the process of choosing from the whole variety of colours within the orchestral "palette" in order to distinguish what really stands out, and what can make the difference in the final mix of a song.

How do the different orchestral families fit into a metal context?

Strings

   •    Homogeneous
   •   Backbone
   •   Breathless
   •   Articulations
   •   Agility

Brass

   •   Accents
   •   Power
   •   Richness
   •   Warmth
   •   Dark

Woodwind

   •    Delicate
   •   Distinct
   •   Specific
   •   Cold
   •   Bright

Percussion

   •   Effects
   •   Climax
   •   Punctuation
   •   Enunciation
   •   Rare

Should I use all of an instrumental group for this part of the song, or just a subset / divisi?

   •   More divisions = more options, but more programming work
   •   Multiple individual ‘players’ for realism, or ensemble patches for consistency?
   •   In reality, orchestral resources subdivide during a performance - they do not multiply
   •   Don’t always use the full orchestra / sections - use bespoke colours for specific music
   •   The range, envelope, timbre, and flexibility of instruments are worth considering when combined

Is there room for woodwind in metal orchestration?

   •   In certain pitch ranges and dynamics, woodwind can be too delicate to be clearly defined in this context
   •   Better suited to softer, less dense band textures
   •   Great for expressive, sensitive, tender moments in a song
   •   Double reeds (for example: oboe, bassoon) have more attack and mid frequency that cut through the mix
   •   Clarinets and flutes can have very fast and dexterous parts - runs, flourishes, and arpeggios

Should I also consider synthesized sounds and instruments as part of my orchestration?

    •   In film, TV, and computer games, orchestral and synthesized sounds are used together frequently
    •   A broader combination of colours and textural possibilities can be achieved through hybridization
    •   Layering synthetic and sampled sounds can result in a ‘best of both’ situation

Is there much room for orchestral percussion in metal tracks?

   •   The band drums will be the focus
   •   Accent climaxes with orchestral percussion - compensates for the compressed dynamics of the mix
   •   Improve the attack of string parts with pitched percussion
   •    Avoid the ‘machine gun’ effect and make it groove with sculpted velocities and continuous controllers

Chapter 3

How to bring the quality and strengths of the band’s music to the top, or work to compensate for its deficiencies so that in the final mix a point of common satisfaction can be achieved. This is a case of balancing the original music of the client with the creative ideas of the orchestrator.

Why am I orchestrating this part of the song - what does it achieve?

   •   Can you find a reason for that orchestral part?
   •   Don’t just orchestrate out of habit - do it with purpose
   •   Try to convey meaning
   •   Frequently remind yourself of the initial brief that you were given - are you on the right track?

Are the sounds I’m using the right fit for the song?

   •   Does the vibrato, tremolo, or trill speed of this instrument fit the tempo of the song?
   •   Does the dynamic shape of the sample fit the phrasing of the music?
   •   Do these round robin samples work with the rhythms I’m using?
   •   Record multiple takes to capture the best render of rhythmic parts

Should I always work focused on the details, or should I also think about the bigger picture?

   •    Work zoomed in and zoomed out - find a balance between the two that keeps you on track
   •   Learn what tasks and stages of the process work best at either the macro level or micro level
   •    Use snapped valued for automation, selection, and placement of region data - this saves time
   •   Zooming out is a healthy part of the creative process, to avoid getting lost in the details
   •   Remember that you are working on another artists music, not your own
   •   Be creative, but also be objective about your work

How important is clear communication and understanding between the client and I?

   •   Clear communication facilitates the smoother development of ideas, in line with the artists vision
   •   It also helps to avoid conflict and misunderstanding
   •   Respond proactively and objectively to constructive criticism

Chapter 4

Developing the rapid construction of an efficient method to create one’s own compositions and arrangements, as well as using a midi controller to interface virtual instruments.

Who am I orchestrating for?

   •   Research the artist and related bands in the genre
   •   Are their previous orchestrations dramatic? Neoclassical? Filmic? Avantgarde?
   •   Are they light and fun, or dark and serious?
   •   Does the band already have keyboards?
   •   Are their audience mostly musicians, or music fans?

Should I setup my orchestration template ahead of time?

   •   Integrate your instrument with midi / audio input - faster than only programming with the computer
   •   Using the same creative tools on repeat gives you more experience in how to get the best out of them
   •   Choose the best sounds, but be flexible with your choices to suit the character of the song
   •   Preparing the technical setup in advance makes more time for creativity and refinement
   •   Make it portable, to have access to more clients, networking opportunities, and rich experiences abroad

How can I streamline the process?

   •   Group buses in your DAW (Digital Audio Workstation) - keeps things organized
   •   Colour-code different sections / regions / instruments in the song, to make it easier to navigate
   •   Process / Automate on buses - this saves on computer resources and time
   •   Consolidate 3rd Party plugins, less instances of Kontakt / Play / Engine is easier on the processor
   •   Hide tracks / Collapse buses to focus on what you’re working on, and to optimize the size of your screen
   •   Avoid repetitive tasks - prevents boredom, speeds up the work, and keeps your creativity fresh
   •   Keep the workstation tidy, both inside the computer, and on the desk

What equipment do I need to do virtual orchestration?

   •   DAW (Digital Audio Workstation, such as Cubase, Logic Pro, Pro Tools)
   •   Sample libraries of virtual instruments (these 3rd party plugins mount within your DAW)
   •   A powerful computer (the more contemporary the model when you buy, the longer it will last you)
   •   External Storage (7200rpm hard disk drives / solid state drives, via either thunderbolt or USB 3.0)
   •   Monitoring Speakers (monitoring headphones are beneficial for a more portable, flexible setup)
   •   External Audio / Midi interface (you need this to connect the computer to all your audio devices)
   •    A portable setup - either in general, or to compliment your studio workstation

How can I use instruments I play to input midi into my DAW, capturing a more human performance?

   •    Pianists - there are many midi keyboards, of varied size, quality and control complexity available
   •    Guitarists - audio to usb cable + Midi Guitar software (from Jam Origin) + Livid Guitar Wing controller
    •    Vocalists - the Sonuus i2M musicport allows you to convert audio input from a microphone into midi
   •    Jam Origin also offer Midi Bass software, and they are developing a Midi Violin version

Chapter 5

Techniques and tips that allow you to gain independence in the composition and recording of songs, embellishing the music with ‘larger than life’ orchestral arrangements, whilst saving on the budget, logistics, and time spent in the studio.

How can this orchestral part be phrased to make it fit the feel of the song?

   •   CC Controllers
   •   Dynamics
   •   Velocities
   •   Articulations via keyswitches

How can I avoid monotony with repeating musical parts?

   •   Loop in pairs or quadruple phrases, with variations upon repetition, keeping the music moving forward
   •   How do the phrases relate to each other - call and response/ question/ statement/ answer?
   •    Cutting midi regions into moveable blocks facilitates clear development and build in repeated sections
   •    Keep the orchestration developing, for realism, whilst adding variation to repeating band parts

How can I get my slower, softer sounding instruments to play in time with the harder, faster sounds of the band?

   •   Be aware of the attack speed and release times of different orchestral instruments
   •   The volume placement of a sound with a slow attack in the mix affects its apparent timing
   •   Compensate for slow-attack times with pre-delay on the instrument until it sounds tight to the click - allowing you to continue working within the divisions of the piano roll editor / notation more easily.

   •   In addition to this, you will have to lengthen the notes on the end of phrases to counter the effect of adjusting the pre-delay, so that the end of the note sounds in time.

   •    Humanization is important for adding back some imperfection into quantized, programmed music.
   •    Syncing the orchestration with the band performance may require fine tuning the rhythms note-for-note
   •    Familiarize yourself with the level that the producer is likely to place your orchestration into the mix - this affects the apparent timing of your instruments, so don't work with the orchestration too loud.

What transferable skills can I learn from doing this kind of work?

   • Musicianship
   •    Music Theory
   •   Transcription
   •   Production
   •   Sound-Editing
   •   Arrangement

Chapter 6

Organizing and preparing the work to finally deliver it to the musician and the producer.

Will my orchestral dynamics be effected by post-processing in the final mix?

   •   Dynamics are integral to making orchestral music sound authentic
   •   Compression will be used in the mix and master stage of the project - use instruments with multi-sampled dynamics to preserve phrasing and emphasis after compression

   •   To better appreciate orchestral dynamics, study recordings and notation of orchestral music, or experiment on those instruments yourself if you have access to them.

To reverberate, or not to reverberate?

   •   Dryer sounds = more options for the producer
   •   Different microphone positions
   •   Be consistent with your microphone settings for different instruments
    •    Consider whether the instrument should be in the background, middle-ground, or foreground
   •   Be careful and aware of virtual instruments that use reverb to facilitate legato articulations
   •   Tailor reverb to suit the song / orchestral section - this can lead to a cleaner and more characterful mix

Should I develop certain character traits to do this work successfully?

   •   Balance objectivity with subjectivity
   •   Punctuality
   •   Reliability
   •   Respond positively to feedback - avoid taking criticism personally
   •   Flexibility
   •   Communicate clearly and professionally
   •   Be a team player

What should I do to facilitate progress with my career as a virtual orchestrator?

   •   Put the client’s needs first with regards to the artistic vision
   •   Don't forget about your own needs, as both a professional, and as a human being
   •   Maintain your integrity
   •   Promote your work, and the artists you work with
   •   Commit your creativity
   •   Network
   •    Form lasting professional relationships

They have brilliant facilities for education, recording, rehearsing, and delivering workshops at both ETIC_ and Rock 'n' Raw estúdios - for inquiries, click on the links below:

What's Next?

Soon I will be providing information and resources to give you a head start towards creating virtual orchestrations in Logic Pro X, integrating the guitar as a midi controller to get more out of the virtual orchestral instruments that Logic Pro X comes with, along with some hacks and tweaks that make it easier to be spontaneous and creative with them.

Watch this space!

If you have found this blog post inspirational, useful, or informative, feel free to donate funds to my PayPal account as a token of your appreciation.

Alternatively, feel free to get in touch if you have any questions regarding this topic - I will gladly answer your inquiries, and troubleshoot any problems or frustrations you are having with your own projects.

Contact Jon Phipps

It's Official...

9/11/2017

It's always satisfying to see one's contributions to an album in writing in the CD Booklet - Obrigado, Moonspell!

Hear and Purchase the new album here

Two New Tracks from Moonspell, featuring virtual orchestrations by Jon Phipps

24/10/2017

Moonspell disinter the first audio artefact from their new album 1755, possessed by the orchestrations of Jon Phipps

21/9/2017

Olá, meus amigos! The following information in italics is from Moonspell's official press releases on their facebook page.

Portugal's Dark Metal pioneers MOONSPELL are finally back with a brand new and hotly anticipated album, titled '1755'. Set to be released on November 3rd 2017 on Napalm Records, this record will outclass all standards you have ever heard from MOONSPELL before!

From the first second the conceptual dramaturgy MOONSPELL have created what feels like a detonation of the mind. '1755' is more than just the band's new magnum opus: It's the musical version of the year of horror where a giant earthquake wrecked their home Lisbon.

Naturally this album comes and is sung in Portuguese. The album, produced by Tue Madsen (Meshuggah, The-Haunted, Dark Tranquillity, Dir en grey Official, Die Apokalyptischen Reiter) also features Paulo Bragança (Fado's fallen angel), supplying a hauntingly Fado vocal, which is a big part of the Portuguese culture. His fascinating vocals are featured in "In Tremor Dei" (eng.: "Fear Of God").

Now the band fronted by the soul of dark art and visionary Fernando Ribeiro unveiled the first details about '1755' and unleash the stunning cover artwork as well as the album track list!

Says Fernando:

“I have been fascinated with Portuguese history since I can remember. The year of 1755 marked the birth of a new Portugal. Much more than just the greatest natural disaster ever to occur on European soil, the great Lisbon Quake, shockwaves can not be reduced to a dramatic death toll.

From absolute tragedy, a new city was born, giving way to a new time where Portuguese relied more on themselves than on the crown or the cross, granting us, much of the city, the lay country, the free will that we enjoy today.

This is not just another album from us. It’s a musical and lyrical history document, a homage we pay to our legacy and to the amazing skills and resilience of our fellow Portuguese back then, of all mankind when brought down to the knees by the violent forces of Nature and Reason.

Whatever is, is right... yet the earth shakes."

The track list of '1755' will read as follows:

1. Em Nome Do Medo
2. 1755
3. In Tremor Dei ( featuring Portuguese guest vocalist Paulo Bragança! )
4. Desastre
5. Abanão
6. Evento
7. 1 De Novembro
8. Ruínas
9. Todos Os Santos
10. Lanterna Dos Afogados

'1755' is a dark adventure in medieval landscapes - emotionally, technically and completely earthshaking! The album will be available for pre-order soon.

This is the 1755 album artwork by João Diogo

Additionally, the band later clarified some further details of the new album, shedding some light on my involvement in its creation:

"1- 'Em nome do Medo/In the Name of Fear' is an orchestral version by the talented Jon Phipps (orchestralmetal.com). It was the first challenge we asked of him for our new album 1755 and the version he did and worked for until the very last day of the album mixes is not the same song as the Alpha Noir one with the same name.

Quite different, it will be the intro to set the mood of #1755 as it has set some blueprints and ideas for the rest of the album songs. Jon is also the brain and the hand behind all this album's magnificent orchestrations.

2- Lanterna dos Afogados/Lighthouse for the Drowned is a cover version from Brazilian mythical Pop band Os Paralamas do Sucesso. We grew up listening to this song as kids in soap operas and its sadness and beauty always stood out. It's a homage to the band and to the country which gave the world such great musicians.

It's a tribute to the drowned, to the ones who never came back.

Tickets + packs for release shows: www.letsgo.pt

Tickets online + young wolf packs: www.ticketline.pt

Napalm Records
Alma Mater Books & Records
Ticketline Portugal
Letsgo.pt

All the saints were not enough to save us...

It is with great pleasure that we announce the lyric video for the first track extracted from our new album " 1755 " - " all saints ".

You can view here: (see the video below)

" even though it's all in the past, in 1755, world and national leaders have. They find themselves on a sacred mission, ordained by some God. In fact it is as much in 1755 as in 2017 all saints have never been, nor will it be enough to save us."-Fernando

We're trilled to announce the lyric video for the first song off our new album "1755"! Check it out here: http://smarturl.it/TodosOsSantos

“Even tough this all happened in 1755, there are still a lot of world and country leaders that think themselves as saints, with a sacred mission, chosen by any God.

What really happens is that they save no one but themselves and this video showcases the message of the song: as in 2017 or 1755 all saints will not be enough to save us.” - comments vocalist Fernando Ribeiro.

Pre-order the new Moonspell album "1755"!

Limited & exclusive editions available here: http://smarturl.it/1755-NPR

Or via Moonspell webstore www.moonspell.rastilho.com

Feel free to check out the other pages of my website:

To hear my virtual orchestrations for metal bands, go to the portfolio page.

If you want to check out my work as a guitarist, thats here.

I have also created a range of modern classical music, which can be seen and heard on the composition page.

There is also a lot of music that I composed and produced for the Alibi Music Library, which can be found here.

For information on rates and availability, and if you have any questions, by all means visit the contact page.

Thanks for stopping by!

Scars That Bleed Again

26/5/2017

New Music from Evadne (doom metal, Spain), with virtual strings and choirs by yours truly at orchestralmetal.com

DragonForce!

17/5/2017

Here's a fantastic new song from DragonForce, with additional orchestration by yours truly, at orchestralmetal.com. Produced by Jens Bogren at Fascination Street Studios, Sweden. The album 'Reaching Into Infinity' will be released on the 19th of May.

Click here to hear the track on Spotify

I enjoyed working on this track, combining 8-bit electronic sounds with the pizzicato strings to pay homage to the computer-game soundtrack vibe that DragonForce are known for, but in the surprising and refreshing context of a orchestral metal ballad.

The strings in the final chorus dance around the beat with their wide interval leaps, making a soaring melody that compliments the band's groove quite effectively (if I might say so myself!).

Iberian Doom, Darkness, and Despair...

13/5/2017

The Spanish doom metal band Evadne are releasing a new album, 'A Mother Named Death' this coming June, which features virtual orchestral and choral arrangements by yours truly at orchestralmetal.com.

These symphonic elements are complimented with synth and piano parts created by Sergio Peiro Molina at SP Estudios, who produced the album.

The instrumental track '88:6' is a reference to a psalm in the bible that reads 'You have put me in the lowest pit, In dark places, In the depths". Collectively we have striven to capture the darkness and despair evoked in this tragic text.

Click on the album artwork below to visit the band's facebook page for more info and media regarding this release.

I Loved it All - New Music from The Gift (featuring strings programmed by Jon Phipps)

6/4/2017

New music from The Gift (Portuguese cinematic synth pop) featuring virtual strings programmed by Jon Phipps, mixed by Flood, and produced by Brian Eno: Check it out!

Check out the new album from The Gift on iTunes, by clicking on the album cover below:

New Music from Germany's 'Gods of Violence'...

3/2/2017

In October of 2016, Jon Phipps was commissioned by the producer Jens Bogren to add war-like brass and orchestral percussion to this thrash song by Kreator, who's new album 'Gods of Violence' reached number one in Germany's official album chart today.

This bonus material was published by Decibel Magazine as a special vinyl release. However, it can also be heard below, via there SoundCloud page.

Click on the album cover below to find out more regarding this chart-topping mosh-monstrosity!