Great Alan Silvestri story Daniel.!

I am so pumped for Avengers: Endgame…! And fantastic to realise Cubase/Dorico have been ‘musically’ powering things along.!!

…but, off-topic, could you put some names to the other faces in the final group photo please…? Is it Anthony and Dom there of course - but is that Lille Harris and a.n. other…? Just curious… :slight_smile:


[Edit - 27 April 2019 - didn’t want to unnecessarily bump the thread, so editing in a ‘thanks for your response Daniel’.! :slight_smile: )

The photos in the article were taken by Charles Gervais of Both Hemispheres Photography, and from left to right the people in the photo are: Anthony, Alan, me, Iro Lidorikioti, Dom Sigalas, and Dimitris Meletis. Iro, Dom and Dimitris are responsible for producing the video interview.


The videos on You Tube when Alan Silvestri is talking about Dorico and Cubase are fascinating.

One of my favourite film composers - great stuff…

Fantastic … what a tremendous endorsement! Congratulations Daniel and team. Alan Silvestri is one of my alltime heroes, so much unforgettable music.

What a great endorsement. This made my day!

Amazing! It’s inevitable that this list of prominent Dorico users will only increase! Congrats -

As opposed to so many of the “celebrity user” interviews that various publishers do, this one was informative (with specific ways to use the program), insightful in to the way Alan Silvestri goes about his work, and inspiring…

Thank you to all involved.

And what a fantastic movie. I watched it this morning in a sold out theater here in Alameda, and it was a hoot. “Yes!!” “Yes!!” “Yes!!” “Go get 'em!!”

:smiley: :smiley: :smiley: :smiley:

Well worth a few hours of your time this weekend.

Many thanks for sharing this interview! He is one of my favourite film composers beside John Williams and the late Jerry Goldsmith and Bernard Herrmann.
I assume that the session you had with him together at the computer is not intended for the public audience?

Such a great interview! My first reaction was to drop Logic and use Cubase as DAW instead next to Dorico :slight_smile: But I had problems using Cubase in the past, so I will stick with Logic for the time being.

It would be interesting to know how his templates look like besides the amount of staves he mentioned. So which instruments are in the 5, 8 and 17 staves templates. Or maybe they all use the piano sound to keep it more flexible for sketching?

I would also be interested in this.
I am guessing these are separate files rather than different layouts of one file (which would get rather large in a movie score).

I was actually thinking that it would be a single file with different layouts, wouldn’t that be the most flexible way of expanding a score?

Actually Alan does tend to work with separate files, and he copies and pastes the material from the five-staff version to the eight-staff version and so on. Because he’s expanding the material each time this workflow works for him. Each cue is also a separate project – there’s no need to put multiple cues in the same project because they are completed one at a time and go off to the orchestrator one at a time, and then they are copied by the music prep team one at a time as well.

Hi Daniel:

Does Alan use the ‘flow’ feature in Dorico?

Not as far as I know, for the reasons stated above: each cue has to go off to the orchestrator and the music prep team as soon as it’s finished, because everything is written to a deadline. Each cue tends to be its own project for ease of passing it back and forth between different links in the chain.

Oh, ok. I thought he might use the 5 staff / 8 staff / 17 staff as separate flows in one Dorico project / cue; where he sends the 17 staff or whatever the final version is, to the music prep team after it is approved.

If it’s not a trade secret, I’d love to know how Mr. Silvestri labels the staves of his three templates (particulalry the 5 & 8-stave versions).

Knowing how Tim Davies set up sketch systems in “Extreme Australian Orchestration” in his site was very helpful.

The staves themselves are not labelled: instead, Alan annotates each entry with the specific instrument or more general instrument group.