TELL US SOMETHING ABOUT YOURSELF: WHO ARE YOU AND WHAT IS YOUR MUSICAL BACKGROUND?

My name is Roy Westad, and I’m a film composer from Oslo, Norway. I’ve been writing music since 2007, and professionally from 2008. I’ve been working full-time since then. I’m 100 % self taught. As I started writing at the age of 25, you could say I’m a late bloomer, hehe. But I had other plans when I finished high school. At one point I were going to be a famous actor, later I was gong to become the greatest MMA fighter the world had seen, and so on. I just couldn’t decide on which path to choose. Too many options, and too many interests. So I decided to combine the two interests which had followed me for almost my entire life; Films, and music. Film music! Of course! Why hadn’t I thought of this before? So I bought a PC, some sample libraries, and quickly realized this wasn’t as easy as I expected… But, I kept pulling my hear trying to figure this note stuff out, and the rest is history as they say.

HOW DID YOU FIND OUT ABOUT THIS SPECIAL RECORDING OPPORTUNITY?

I found out about the Open Orchestra Sessions kind of by accident. I was checking out some great video game composers, and found out they were working at Dynamedion. So I went to the Dynamedion web page, and saw this button on the homepage asking me if I require massive and emotional live orchestra. “Damn straight I require that”, I thought to myself.

WHICH TRACK(S) DID YOU CHOOSE FOR THE ORCHESTRA RECORDING AND WHY?

I chose to record the two pieces “Calamity” and “Master of Mischief” in the last session, as there’s no way I could do them with samples. They’re written especially for the live recording in mind, as opposed to writing for samples and their shortcomings.

WHAT DID YOU USE THE FINAL PRODUCT(S) FOR?

These tracks are for production library purposes, and to build up a solid catalogue of live recordings.

THE RECORDING PROCESS ITSELF FROM A TO Z – IS IT REALLY AS EASY AS IT IS PROMOTED? EVEN FOR COMPLETE LAYMEN? COULD YOU DESCRIBE YOUR PART IN IT: HOW DID THE WHOLE PROCESS WORK FOR YOU?

I would go as far as to say it is easier than I expected. And it was a life changing event discovering the possibility of recording short pieces without having to do anything but focusing on making the music. I can just write the piece, send the mp3 and MIDI file to their amazing orchestrator, lean back and let those wizards do their black magic. Then a few days later, quite magically I get an edited and mixed version back of the recording. However, I discovered that I had spent a tad too much time with samples, and I wrote a timpani part which was impossible to perform live. But I rewrote the part, and learned a lot from that experience. I also got invaluable feedback on my writing from David (David Christiansen, orchestrator) which has been really helpful. In fact, I think I have learned more about writing for orchestra since I started with these live recordings, than during the last couple of years combined.

DID THE OUTCOME FULFILL YOUR EXPECTATIONS?

The outcome exceeded my expectations by a mile. I will never forget the first time I heard one of my pieces recorded with a full orchestra! What a kick! Though sometimes it can take some time to get used to listening to a live recording after listening to the sampled mock-up over and over about 800 times, hehe.

WHY DO YOU THINK LIVE ORCHESTRA RECORDINGS ARE TO BE PREFERRED OVER SOFTWARE PLUGINS OR ORCHESTRA SOUNDS THAT WERE PROGRAMMED ON A COMPUTER?

If the budget allows it, I don’t think there’s a single argument in favour of pure sample-based orchestral compositions. Unless maybe they’re heavily processed or if a specific effect is desired. There is just something about 60+ devoted and highly skilled musicians sitting in a beautiful hall playing your stuff with love and passion for what they do. The expressiveness, human emotions, the beautiful small flaws. You don’t get that with samples. You can get close, but no cigar.

WOULD YOU RECOMMEND THE OPEN ORCHESTRA SESSION TO OTHERS? ANY RESTRICTIONS?

I would highly recommend the Open Sessions. Personally, for me they’re a great way to record short pieces in top notch quality for TV ads and opening sequences, and are also invaluable for showreel and training purposes. Just be sure your piece is as ready as it can be before delivering the mp3/MIDI. That’ll save you some sweat. That said, the orchestrators are really helpful all the way, and will provide great advice and suggestions on how to make your piece really shine.

THANK YOU VERY MUCH ROY

Thanks for having me, can’t wait for the next session!
www.roywestad.com