I've been learning some pretty darn chonky music recently - I present to you my guitar cover of 'Belie The Machine' by Black Crown Initiate, which I worked out by ear this last week.
​
It's great to be riffing it to the max on the 8-string again - expect more of this kind of craziness very soon (with a more orderly background, next time)!

Alchemia (Brazil) have released a spookily ghoulish video for their new song 'Inception', live at Horror Expo 2019!

The track features eerily creepy virtual orchestration and sound design by Jon Phipps, with mixing and mastering by Tue Madsen, the dark overlord of metal production himself!

The band were also most ceremoniously joined on stage by The King of Freakshow, Coveiro Maldito!

Check out the video below:

If your interest is piqued by these ominous sonorities, visit the homepage to check out Jon's portfolio of virtual orchestrations for numerous bands on the international metal scene!

Greetings, grim citizens of the ever-darkening,
ever-constricting web!

I present to you the original English version of my conversation with those fantastic fellas over at Metal'Art (Belgium) - if you wish to read the French translation of the interview in their stylish and engaging magazine, click on the slideshow below (you'll find the article there at the back of 'Metal'Art 4 - Culture').

Alternatively, read on...(if you dare!)

In 2017 during the album launch weekend of '1755' by Moonspell, we got to know the virtual orchestrator, Jon Phipps (Moonspell, Amorphis, Angra, Hatesphere, Kreator).

In the time it took to drink one beer, we had already had the opportunity to gain awareness of the depth and professionalism of this talented artist.

An interview to learn more about this shadow trade was necessary. Thanks to his passionate and complete responses, our thirst to discover his work and his persona as a musician is finally satisfied.

By Sach and Hielkin

(If you want something to listen to whilst you read this article, pop this playlist of Jon's metal orchestrations
on shuffle in Spotify)

You are a virtual orchestrator - can you please explain what that involves?

Being a virtual orchestrator is one of many sides to my musical personality - it requires me to make creative and expressive use of both sampled orchestral instruments and synthesizers to compose and enhance symphonic arrangements for bands and producers on the international metal scene.

Virtual orchestration is often part of either the band or the producer’s creative process, however, it is not a skillset that all music professionals possess, so in those cases, it is outsourced to specialists such as myself, to assist them in realising their artistic vision in higher definition, and to greater effect when it comes to combining their musical palette with the kaleidoscopic colours of the orchestra.  

Additionally, I strive to make my symphonic contributions feel stylistically and idiomatically authentic, from both a sonic perspective, and also a performative one. This requires an in-depth appreciation of the language of both metal and classical music, which has to be applied with good taste, both musically and production-wise.

What is the necessary curriculum / knowledge required to become a virtual orchestrator?

Having both theoretical and practical knowledge of writing and arranging music for orchestra, as well as experience as a multi-instrumentalist and performer in metal bands greatly informs this occupation, however, it is equally important to be skilful and fluent in the functionality and possibilities of creating music within a digital audio workstation (DAW), and being able to convincingly use software instruments in combination with hardware midi controllers to create organic and exciting music.

One can either acquire these skills academically or through experience - in my case, it is a mixture of both, in that a lot of my grounding and initiation into the dark art of orchestration occurred whilst studying music at university, whereas my understanding and fluency with the digital implementation of those skills is something I developed off the back of making band demos, conjuring up virtual versions of my modern classical compositions, and then being plunged into on-the-job development, when I started producing library music alongside my virtual orchestration work several years ago.

You have to combine some modern production know-how with the more traditional skills of orchestral arrangement and composition - at the end of the day, you’ve got to deliver something engineered to a high enough standard that it sounds like it belongs alongside the bands music on the album. This doesn’t matter so much if you’re making dungeon synth though, as in that case, having as lo-fi an aesthetic as possible with the orchestral sounds is intrinsic to the style!

Joking aside though, I actually really love listening to dungeon synth - it’s so creepy, and evokes dark fantasy worlds with very limited resources quite vividly!

It is greatly beneficial to understand both the timbral characteristics and performance limitations of all the orchestral instruments, and how they relate in either contrast or similarity to metal instrumentation - this network of connections between the instruments greatly informs my creative choices, whether it’s to do with how I will respond to the band’s parts at a given point in a song (making the most optimal use of the pitch-space available around the guitars, bass, and vocals) or how I will develop an idea over time - there are many questions to consider (here are a few examples, to give you an idea): Do i repeat this motif as it is, or develop it over time to keep the listener’s interest? Should its character get brighter, or darker throughout this section? Is the music rising towards a climax, or receding away from one? Which instruments in combination best express this motif, in addition to complimenting the band’s music at this point in the song?

How does one become a virtual orchestrator? Can you please tell us about the path that led you to become one?

I came to virtual orchestration for metal bands as the focus of my music career through my mixed background both as a progressive metal guitarist, and avant-garde composer. My experiences writing and performing in a variety of heavy bands on the local UK scene (ranging from progressive alt-rock to blackened death metal), combined with my academic training as a composer (wherein I graduated with a master’s degree in 2009) led me to explore combining both passions, and to integrate these two sound-worlds and disparate disciplines into a cohesive whole.

Off the back of early adventures as a session guitarist, a band I was working with (Divine Disorder, Kuwait) also needed virtual orchestration on their album. Seeing as I had a keen interest in this, along with the skills required to do it, I put myself forward for the task. The band had been working with a much higher profile musician from an international band on the orchestrations at the time, but due to his obligations to his main band, he had to withdraw his involvement from this album project.

This meant that I had some large shoes to fill, which was a challenge, but that was an opportunity for personal growth, and in this case, the potential development of a passion into a profession, so I gave it my all, with the limited resources I had (only having just started my collection of software instruments to create orchestrations with, and not having much more than a laptop setup for my home studio at the time).

Fortuitously, this album was mixed by none other than Jens Bogren at Fascination Street Studios, Sweden - my orchestral contributions did not go unnoticed by this prolific producer of worldwide acclaim, and as a result of this, I was enlisted by Jens to work on a variety of releases, including ‘Secret Garden’ by Angra, ‘Extinct’ by Moonspell, and ‘Under the Red Cloud’ by Amorphis.

Most of the work on these albums was done on site at Jen’s mastering suite in Örebro, Sweden - this was a very intensely focused work environment, that encouraged me to develop greater speed and efficiency so that I could meet the demands of the tight deadlines and high expectations with regards to the quality of the orchestrations.  

The Divine Disorder album was also mastered by another greatly influential and sought-after figure in the industry, Brett Caldas-Lima, who I later worked with on a few other projects, including a fantastic album by Nephylim, a melodic death metal band from The Netherlands.

How do you proceed with the composition of orchestrations?

a.       Do you compose the orchestration alone based on the material provided by the artists or do you collectively work on the composition?

b.      If both are done, what is then the most common situation?

It all depends on the client - sometimes, they provide me with just the band parts to respond to creatively with the orchestral elements. However, in other instances, the artist presents me with rough sketches of orchestration ideas which I expand and develop into more vividly realised manifestations of their artistic vision.

Usually, I am adding orchestration to sections of songs which have band material in them as well, so my creative choices are largely governed by what they’re playing. However, working within these limitations is great for catalysing one’s imagination, so this setup both focuses my creativity in the right direction for the band’s needs, but also encourages me to explore interesting ways of solving that particular sonic puzzle.

The more orchestrations I do, the more I am able to largely just intuit ‘what is missing’ from the song where symphonic input is required - over time, you come to know what certain kinds of riffs, atmospheric textures, and band dynamics are calling out for, with regards to what would work well symphonically in those contexts.

Usually, there is some ongoing creative discussion between everyone involved, as we collectively strive to steer the orchestrations in the direction of the artist’s style and concepts, so through a series of drafts and revisions to the material, we collectively refine my contribution so that the final version is as polished and effective as possible.

Are you involved in the recording and production stage? If yes, can you please explain how?

As I usually work in triangulation between the band and the producer, recording, editing, mixing, and mastering the band’s material is not usually my responsibility. However, there are exceptions to this rule. For example, with regards to my second collaboration with Moonspell, ‘1755’, I consulted the band in person at their rehearsal studio in Lisbon, to enhance and refine every instrumental element of the band’s songs, in preparation for the final recording with Tue Madsen, the supremely talented and esteemed producer at Antfarm Studio, Denmark.  

My orchestrations were composed between these two stages of the whole production process, having  assisted the band in recording and editing the demo versions of the songs until we were all satisfied that they were ready to commit to memory, so that they could be captured in their most optimal form in the studio.

I was also present for a lot of the final production process with the band, as I needed to consult the band members and guest vocalists on the choir arrangements for the tracks. This was great fun, and it was really rewarding to be so involved in the genesis of such a monumentally epic album!

What programs/tools do you use to compose your orchestrations?

I use a combination of hardware midi controllers, each with a different function - if I need to call upon my extensive experience as a guitarist to write or perform parts into the orchestration, I use the Artiphon Instrument One. For more pianistic writing, or for experimental sound design, I use a very flexible MPE (multi-polyphonic expression) midi controller called The Sensel Morph.

As well as this, I have an ‘invisible’ drum kit (a combination of reflective sticks and footpads with light-sensing software called Aerodrums), which I use for percussion programming (as well as to practice metal drumming whenever I feel like it!), and finally, so that my feet don’t atrophy and fall off through neglect, I keep them busy with a Keith McMillen 12-step midi pedal controller, which is great for controlling additional layers of expression (whilst focusing on performing notes and rhythms with my hands), as well as allowing me to realise every goth nerd’s dream of playing evil church organ music in the comfort of one’s home studio.

As well as all the midi gadgets, I use an extensive range of virtual instruments from numerous manufacturers - one particular sound library probably won’t be as equally useful or effective in every song, so I have to have multiple alternatives, as well as options for layering sounds. This is especially the case when a client wants something even more epic than what I’ve presented them with in the first draft - you always need something extra to throw at the situation, just incase - it’s never good to run out of ammunition!

Relying on portable, compact, and flexible hardware and software solutions also informs my choice of digital audio workstation. I use Logic Pro X, as it has excellent midi programming capabilities, easy compatibility with most virtual instruments, and doesn’t cost me extra to carry onto a plane, stowed away on my laptop’s hard drive (unlike some other DAWs that require additional cumbersome and expensive hardware).

How long, on average, do you need to finalize the orchestration of a song?

At times, turnaround on projects has been as urgent as 24 hours - when this is the case, there isn’t time to get bogged down in the finer details of the orchestration, so you have to zoom out, clear your head of clutter, and allow the ideas to pour forth from your fingers in their rawest form.

Fortunately, there is often more charm and intrigue to that which is imperfect - perfection is only realistically achieved by machines, and in the context of music, can render the most exciting ideas lifeless and dead to the listener. It is through striving, and journeying towards a challenging goal in which music comes to life, not in arriving at the destination along a smooth, uneventful, and tediously straight road.

It often takes very little time for me to come up with the initial ideas for a metal orchestration, as having done over a hundred songs in this genre by this point, you come to just intuitively know what sort of thing will probably work for a particular kind of groove, riff, or atmosphere. Conversely, the development of the ideas as an orchestral arrangement takes a lot more work, as that is all about balancing the texture and combination of orchestral colours with the metal band’s sound.

Personally, I prefer to be able to spend days or even weeks exploring the ideas, and refining their execution to the highest resolution of quality that I can achieve with the tools at my disposal. However, there isn’t often the time or the budget to allow for this perhaps quite indulgent version of the process to be realistically possible.

With regards to Moonspell’s ‘1755’ album, the work was carried out over a year and a half, taking advantage of breaks in the band’s busy touring schedule to collaborate on the structuring and development of the songs in Lisbon. After our productive and greatly memorable times spent in the studio together, they would resume their life on the road, and I would return home with the song projects and develop the orchestration from there.

Do you work on full albums only or do you also work on single songs?

Some artists just require an orchestral interlude or symphonic intro to their album, or they have a particular song that calls out to them for something extra to be injected into the mix to make it shine - this is often when I get the last minute call, and have to drop everything so that I can deliver an orchestration overnight, sustained by caffeine, snacks, and the pressure of a tight deadline.

If a band’s style doesn’t usually call for indulgence, grandeur, or theatrics, then orchestrations will be used  sparingly for thematic effect, or to highlight particular moments when the lyrics or album context cry out for something special.

An example of this would be ‘Earth Under the Sword’, by German thrash masters, Kreator - this was a special commission for a vinyl release by Decibel Magazine, which required warlike brass and thunderous percussion to embody and intensify the songs themes of conflict and revolution. Another band I’ve worked with in the broader thrash genre is Hatesphere, who’s album ‘Reduced Flesh’ required post-apocalyptic soundscapes from the orchestra, to bring the nightmare of civilisation’s imminent collapse to life through perpetual dissonance, unconventionally ugly instrumental techniques, and anxious atonal atmospheres.

When it comes to working on full albums, that is usually and inevitably a more involved and time consuming process. I often receive near-complete songs, hot off the press from the studio once they’ve been recorded. When I have finished the orchestrations, the producer then mixes and masters everything together to complete the production process.

What was your most challenging project as a virtual orchestrator and why?

My orchestral version of Moonspell’s ‘Em Nome Do Medo’ on ‘1755’ was definitely the most challenging project so far - usually, the artifice of the virtual orchestra is distracted away from by the intensity of the heavy guitars, pounding drums, crushing bass and screaming vocals, but in that track, the only material lifted from the original song is Fernando’s vocal, whereas all the other rhythmic, harmonic, and melodic elements were reimagined through the prismatic lens of the orchestra, whilst still trying to maintain the core essence of the track.

Palm-muted guitar riffs are carved out by chugging cellos, haunting harmonies on keyboard are transformed into an anthemic choral chorus (sung in Portuguese),  and driving drum grooves step aside to make way for more filmic and exotic percussion flourishes.

To contextualise the orchestral version of the song as the intro to ’1755’,  I added in chaotic and cinematic elemental moments, to depict scenes from the 1755 earthquake which the album is inspired by, including a burning church scene in the middle, which makes use of a cacophony of whispering prayers and string players randomly beating their instruments with the wood of their bows to conjure up the engulfing firestorm that inevitably explodes into the second verse of the song.

Later on, there is a breakdown section, which utilises sliding trombones and cellos, coupled with shrieking trumpet and violin trills amidst a maelstrom of chromaticism, to conjure up the chaos of buildings burning and crashing to the ground, as well as the terror of those who were there to witness the event. To contextualise the music though, it is fundamentally still built upon the underlying chord progression from the chorus of the song, which helps to unify it with the rest of the piece.

What is the project you are the proudest of as a virtual orchestrator and why?

It is always greatly rewarding and thrilling to witness the unveiling of the finished album when it is released out into the world, but it is even more fantastic and exciting to see the songs being performed live, either with the orchestrations on backing track during the performance, or being played by the band’s keyboardist.

I think the crowning moment for me throughout all of this was sharing the stage with Moonspell as part of the album launch for ‘1755’ in Lisbon, for which I was dressed up as ‘The Cardinal’, and part of a congregation of ominous monks who haunted the stage with plague doctor masks and sinister ritualistic gestures at dramatic moments throughout the performance.

It was a much richer experience, to be a part of the ceremonial presentation of the album to the band’s fans for the first time, rather than just surprisingly hearing about the release one day many months later, whilst I am busy working away with another client, several projects down the road.  

I could of course speak a lot more about my extensive and ongoing experience as a virtual orchestrator for  Moonspell very passionately here, however, I will instead take this opportunity to talk about some of the other projects that I am also proud to have contributed to as a virtual orchestrator.

I got to dive into the depths of melancholy with Trees of Eternity, who’s haunting vocalist Aleah Stanbridge tragically passed away before the album was released - the ethereal and mesmerising beauty of the music, coupled with the now very real tragedy expressed in the lyrics stands as an unforgettable epitaph to an incredibly talented musician.

It is also refreshing to have opportunities to collaborate on projects outside of the metal genre - being an obsessive David Bowie fan myself, it was a high honour indeed to add additional string parts to the romantic synth pop of Portugal’s The Gift on their album ‘Altar’, which was produced by the legend that is Brian Eno himself!

What are your on-going projects as virtual orchestrator (no details needed of course)?

Since almost the beginning of my journey into this curious and obscure realm of virtual orchestration, I have been working on a studio project with members of Death, Spiral Architect, and Manitou, called Terra Odium (based in Norway).

The album we’ve been quietly working on in our spare time is finished at last, and is now gearing up for release in the very near future, after several years of slow-cooked prog-metal craziness! It’s quite gratifying to be in a band project with musicians who I spent much time emulating on guitar, listening to on repeat, and reading about enthusiastically in metal publications during the formative years of my youth.

Are you specialized into specific genres (or only extreme metal)?

You could say that I am a specialist at metal orchestration in general, but I do enjoy it more when there is variety to my work - there is a lot of room for emotional expression in doom metal (such as my work on ‘A Mother Named Death’ by Evadne, from Spain), whereas technical death metal calls for virtuosity and complexity, which is a fun and stimulating challenge of a different sort (for example, the track ‘Origins’, by Shattered, from Germany).

Ironically, despite my deep affinity for the genre, I have worked very little in symphonic black metal as a virtual orchestrator. Having grown up listening to Emperor, Cradle of Filth, and Dimmu Borgir, it would be of great satisfaction for me to collaborate with some of those iconic bands. Hang on a minute - I’m multitrack recording my own voice for a choir arrangement that I’ve done for one of these three bands at the moment, so I guess I didn’t have to wait too long for that particular dream to come true!

What are your personal musical preferences?

Being a curious, atypical, and eccentric individual myself, I tend to like music most when it has its own distinctive character, drawing outside the lines of tradition, whilst also being unafraid of innovation and experimentation. The most exciting music for me happens at the porous boundaries where genres meet and interact - my music library is often on shuffle, endlessly interpolating combinations of the mystical transcendentalism of my favourite composer Olivier Messiaen, the blackjazz of Shining, the cerebral indulgence of King Crimson, the esoteric brutality of Gorguts, the alien guitar fusion of Allan Holdsworth,  the sad electronic noises of Radiohead, the raw outrage and violence of Converge, the majestic black metal elegies of Emperor - the list has to stop somewhere, though!

What instruments do you play and is it an advantage for your work as virtual orchestrator?

I’ve played guitar for three decades (and taught guitar for half that time) - during that period (which is most of my life!) I’ve branched out to play fretless bass, 8-string guitar, double bass, and drums. I’ve also done a lot of singing, both in local bands and in choirs - all of these experiences inform my awareness of what to consider when arranging music for various instruments, and what the limitations of those instruments are - these tend to be a point of inspiration, as it’s always fun to push upon the envelope of those restrictions, and to break new ground on an instrument wherever possible.

I imagine you may have expected me to say that I was a pianist, or a keyboard player - having first picked up the guitar at the age of five, it has become second nature for me to visualise harmonic and melodic patterns in the context of the guitar fingerboard. To me, it seems like an unnecessary effort to have to relearn all those patterns on a keyboard, when, in 2020, we’re not limited to keyboards for writing and performing with virtual instruments and synthesizers. Saying that though, I am enjoying learning church organ music at the moment (in the context of funeral doom), so maybe one day I’ll change my mind about my association with the keyboard, but for now, I’ll say that for the most part, I am still very much a guitarist.

Do you have other artistic/musical activities? If yes, what are your on-going projects?

I do have a wealth of my own solo material that I’ve written over the years in a range of styles, encompassing blackened death metal, jazz metal fusion, and djent, but due to both the pressures of earning a living, and enduring life’s unpredictable plot-twists, these projects are yet to be taken off the gentle heat of the creative back-burner. Hopefully, by the time I serve these musical morsels up to the world, they’ll be seasoned just right, and not embarrassingly overcooked!

In recent years, I’ve also developed several innovative music software applications which I’ve secretly been experimenting with behind the scenes. However, the world is changing drastically in 2020, and we all need to stop living as if we’re never going to die - for me, this means that I have to force myself to make more time for my own solo projects, artist collaborations, and software inventions, otherwise they’ll all just waste a lifetime gathering dust on my shelves, or sitting in suspended animation, trapped in one of my many digital archives.

Do you want to add anything on a subject that we have not covered and you would like to talk about?

I am currently working on some really fantastic new album projects, with bands from Portugal, Norway, and the UK - if you’re interested in following what I get up to, both as a virtual orchestrator, and as a musician in general, feel free to visit my website, orchestralmetal.com, and check out the various social media links for content and contact info if you want to get in touch regarding your next project - I’m always up for a challenge, so bring it on!

Many thanks go to Sylvain (Sach) and David (Heilkin) for their thought-provoking and engaging questions throughout this interview - I look forward to seeing you guys again at another Moonspell show at some point in the future, when the world has finally gotten back on its feet after everything that’s happened in 2020 so far!

The photos in this article (other than the two magazine images at the top) were taken by Jon Phipps at orchestralmetal.com HQ

Happy Portugal Day, to all my Portuguese friends, both here in the UK and abroad! ??

This photo was taken three years ago, when Moonspell and I were working on the pre-production and virtual orchestration of the songs for their album '1755' (produced by Tue Madsen).

Check it out here my website, orchestralmetal.com, where you can also hear my contributions to releases by Amorphis (Finland), HateSphere (Denmark), and Dragonforce (UK), among many other fantastic international artists, in collaboration with industry-leading producers.

Follow orchestralmetal.com on Facebook, and @jon.phipps.music on Instagram to stay informed about exciting new developments that are coming soon in 2020! ?

#moonspell #metal #orchestration #portugal

Photo by

Paulo F. Mendez

I wish you all an ever-somber and delectably dark World Goth Day today - to celebrate, I encourage you to rock out to the music of 
Moonspell, with the tracks in the YouTube playlists below featuring orchestral, choir, and synth arrangements by yours truly.

Production by Jens Bogren on 'Extinct', and Tue Madsen on '1755'.

Click on the album covers below to hear these gothic masterpieces:

Click on the collage of albums I've worked on to be redirected to the new and improved orchestralmetal.com!

The terrifically talented Dutch quintet Nephylim have unleashed their fantastic new album 'Severance of Serenity' unto the world - their own bespoke style of melodic death metal combined with doom and post-metal influences is exquisitely executed with utmost precision on this release, whilst expressing a depth of feeling that is both profound and immersive.

They intrepidly explore extremes of dynamics through the juxtaposition of calm atmospheric textures with pummelling riffage and blistering vocals.

Three of the tracks feature subtle virtual orchestrations brought to you by Jon Phipps at orchestralmetal.com, which you can either hear in the following Spotify playlist, or by clicking on the track titles beside it:

The album was mixed magnificently by the band's drummer, Martijn Paauwe, and was mastered by none other than Brett Caldas-Lima at Tower Studio, France.

CLICK ON THE IMAGE BELOW to listen to this epically intense and emotional album from Nephylim on YouTube:

Who in their wrong mind doesn't enjoy a bit of epic atmospheric prog metal with soaring vocals? I've recorded a cover version of this brilliantly haunting and stratospheric tune by Leprous - give it a spin, I say!

Follow me on Instagram: @jon.phipps.music
Like my page on Facebook: orchestralmetal.com
​
There's more to come, with even less mad facial expressions next time!

CLICK THE IMAGE BELOW TO WATCH THE VIDEO ON YOUTUBE:

''Come Away, Come Away Death - Words by William Shakespeare, Music by Jon Phipps.

Click on the image to check out the song on YouTube!

Lyrics:

Come away, come away, death,
And in sad cypress let me be laid.
Fly away, fly away, breath;
I am slain by a fair cruel maid.

My shroud of white, stuck all with yew,
O, prepare it!
My part of death, no one so true
Did share it.

Not a flower, not a flower sweet,
On my black coffin let there be strown.
Not a friend, not a friend greet
My poor corpse, where my bones shall be thrown.

A thousand thousand sighs to save,
Lay me, O, where
Sad true lover never find my grave,
To weep there!

Moonspell embark upon their European tour with Rotting Christ today - to mark this wicked ritual, they present an ungodly offering, in the form of a new live video for their song 'Ruínas'.
​
This track is from the album '1755', which I collaborated with them on and orchestrated for the band, with the production manifested by the grand magister himself, Tue Madsen.

CLICK ON THE IMAGE ABOVE to watch the video on YouTube, and POKE THE PICTURE BELOW to book tickets for shows on the Moonspell tour, before they're all sold out!

The HateSphere album 'Reduced To Flesh' was released a year ago today - I had the pleasure of creating the disturbing orchestral soundscapes that sinisterly adorn this masterwork of thrashcore heaviness.

This album was produced by none other than the legendary Tue Madsen at Antfarm Studio, Denmark. The tracks I contributed to are: 'Praeludium', 'Reduced to Flesh', 'Can of Worms', 'Lethal Mistakes', and 'Afterlife'.

CLICK ON THE IMAGE BELOW to hear the album on Bandcamp:

If you're interested in hearing more of my virtual orchestration work, feel free to check out the rest of my portfolio on the home page. Alternatively, you can listen to the highlights on bandcamp if time is of the essence!

Shattered is the brainchild of Ryan We - death metal guitar maestro extraordinaire from Germany. This intensely caffeinated brew of neoclassical brutality was orchestrated by yours truly, and it was an excessively fun piece of music to get creative with! 

If you are a fan of technical death metal similar in style to Obscura and Necrophagist, then listen to this band's first album 'New Atlantis' - it will definitely satisfy your hunger for psycho-sonic cosmic chaos! CLICK ON THE IMAGE BELOW hear the album on bandcamp.

If the orchestration in this song piques your interest, feel free to check out the rest of my metal orchestrations on either thehome page or in this YouTube playlist.

Get in touch if you want me to work on your music - just click on my screaming face to make it happen!

I've decided to start creating more frequent and engaging content for my YouTube channel - 'Toxic Garbage Island' by Gojira is the first of many guitar covers that I will be performing on there.

This crushing riff-monster of a song is from their album 'The Way of All Flesh' (2008). However, I've somehow only just discovered how awesome this band is, so it sounds pretty fresh to me!

I am open to taking requests for other tracks people would like me to cover, so if you have any suggestions, free free to write them in the comments section - if I dig it, i'll consider it!

I've worked with incredible metal bands and producers on the international scene as a virtual orchestrator (including Moonspell, Amorphis, and Hatesphere) - feel free to check out my portfolio on the home page, or in this YouTube playlist!

Greetings, greedy Humans of the Internet! Canada's Ravenous have unveiled their heroic new album, 'Eat the Fallen' for you to feast on most gluttonously! Be prepared to get a belly full of beer-fuelled metal mayhem down your neck - you'll be fist-pumping the air and chanting every chorus before you can say "Meat's back on the menu, boys!".

This album was produced masterfully by the sonic sous chef Alan Sacha Laskow at Perfect Filth Productions, Canada, and features virtual orchestral garnish on every darn track, fiendishly fermented by yours truly!

Check it the hell out on Spotify by clicking on the band photo below - you know you're hungry for it! 

Alternatively, you can listen to it right here as well - you're spoilt for choice!

NEW MUSIC! Listen to Canada's finest metal fellas Ravenous E.H on the radio at Rock Bottom - Cjsw 90.9FM , debuting a selection of their new songs from 'Eat the Fallen', which were produced most splendidly by Alan Sacha Laskow at Perfect Filth Productions, and feature virtual orchestrations by yours truly at orchestralmetal.com.

Feel free to get in touch if you want me to bring your orchestral metal imaginings to life! 

​Click on the band photo below to hear the radio show.

Whilst you're here, you are welcome to peruse my virtual orchestration portfolio - thanks for stopping by!

This claustrophobic cacophony that I composed for the Danish thrashcore band HateSphere was inspired by the post-apocalyptic opening scene of Terminator 2, so it made sense to combine them!

The album 'Reduced To Flesh' was released in 2018 by Scarlet Records, with jaw-breaking production by Tue Madsen @ Antfarm Studio, Denmark. I've used the pre-production audio to make this video, but you can listen to the final production here.

To hear more of my virtual orchestrations, check out my portfolio.

Unleashed from the vaults of my unconscious, a virtual orchestration has been conjured into form for the Brazilian horror metal band Alchemia (@alchemiabandofficial ).

Once fused with the band's sonic offerings, this string arrangement will be transmuted into audio gold by none other than the great mage himself, Tue Madsen (@antfarm_producer ) at Antfarm Studio, Denmark.

Check out the portfolio page, where you can hear more of my virtual orchestrations for metal bands who are killing it on the international scene.

More coming soon!

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.

PART 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

PART 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?

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 synthesised 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

PART 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

PART 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

PART 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

•    Humanisation is important for adding back some imperfection into quantised, programmed music

•    Syncing the orchestration with the band performance may require fine tuning the rhythms note-for-note

•     Familiarise 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

PART 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:

​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:

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 (orchestral version by Jon Phipps)
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 byJoão 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

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

You can view it here: (see the video below)

“Even though 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 the Moonspell webstore 
www.moonspell.rastilho.com

Thanks for stopping by!

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

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.

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!).

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.

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: