Many composers who mostly write for samples (and therefore might not have much session experience) are daunted by their first scoring session and are not sure how to best approach the session in terms of preparation. Hopefully, by the end of this blog, you’ll have more of an idea of what things to watch out for and the best way in which you can prepare for a smooth recording session.


I cannot even begin to stress how important a cue sheet is to everyone at a recording session. It’s the document that will aid you from going into overtime and will be the lifeline that you might need at the end of a trying day.


Above is what a standard cue sheet looks like for a small TV recording session. You’ll see that it has all of the information on there that you need to keep yourself out of trouble.

Be sure to include the following information:

  • CUE NAME / ID (for example 1M01)







When you have completed each task: composing, copying, orchestration etc, you need to mark them ‘green’ and ‘approved’ immediately. This will help you to keep track of where you are during the process before the session has even taken place. The MIDI always needs to be bounced for the engineer to prepare the Pro Tools session at the studio (usually the night before the session), using all of the time signature and tempo information but deleting the actual MIDI data because that’s irrelevant at the actual session.

The stems also need to be bounced, usually in groups like strings, brass, percussion etc (or whatever forces you’re using) so that the engineer can feed the players the ‘prelays’ (basically anything that is staying in the mix and not being replaced by live players like synths etc) through their headphones along with the click track.


The cue duration is probably one of the most important pieces of information on the whole spreadsheet because it will help you to keep track of exactly how long each cue should be taking you to record. For example, if a 30 second cue is taking you 15 minutes to nail and you’ve only got 3 hours to record and 18 more cues to get through at 2 minutes per track, that’s going to be quite a big problem…

It’s always best to start the session off with a medium length cue and with most, if not all of the orchestra playing so that the engineer can set the levels and double check if there are faulty mics. I’ve then found that sometimes it can be beneficial to get through a few of the longer cues before moving onto the shorter cues which can take the pressure off nearer to the end of the session.


One thing to watch out for if you have a brass section is making sure that their lips don’t get tired. It may sound a bit childish, but if the brass are blowing on huge actions cues at fortissimo repeatedly, they’ll eventually get so tired that fortissimo will just become forte or less. For this reason, it’s best to make sure that you alternate between easier and harder cues.

Sometimes it can be best to hire a producer for bigger sessions so that you can leave them to keep track of timings and leave the orchestrator to focus solely on the music, listen out for intonation issues, the general performance and anything that they might want to adjust after communicating with the composer.


Once, at an orchestral session at Abbey Road, the picture in the cue was starting too early and had been misaligned by the engineer in the Pro Tools session when importing it. The composer noticed whilst he was conducting and they used the TC in and out time from the cue sheet to check at which point the picture should actually start. It was promptly fixed within 30 seconds and the panic was over. However, had the TC not been included in the cue sheet, there could’ve been a big panic about what was going on and if the music itself was actually incorrect. This is why it’s important to include this sort of information. In fact, my rule of thumb is that the more information you can include on the cue sheet the better. It’ll help you when you need it most.


I could write for days about sessions, but hopefully this gives you more of an idea of what to look out for/keep track of at the future sessions. If you’re one of those composers who hasn’t experienced their first live session yet, I really hope this is useful and helps you to get through it smoothly!


‘Copying’ is probably one of the most confused and misunderstood jobs in our field of work, so what is this mysterious craft and how does it work?

In its most simplest form, the job of the copyist is to make the music as readable as possible for the session musicians who will be sight reading it. I’m always blown away when I hear London’s finest musicians playing music perfectly on the first take - music that they’ve never heard before in their lives.


This term is taken from the olden days when copyists would literally copy from the conductor score and generate parts by hand writing the ‘dots’. Thankfully, we now have notation programs like Sibelius, Dorico and Finale to generate parts from. The parts are what we call the music that the players read from, and the score is what the conductor reads from, and those in the booth like the composer, orchestrator and engineer etc.


As part of my bundle service, when I have finished orchestrating the score, I’ll move onto the copying phase of the job. This enables me to go through the parts through with a fine tooth-comb, checking dynamics that may have been missed in the full score and anything else that might look awry. If I’m working from another orchestrator’s score I will then apply my own custom house style to make it look easy and impressive on the eye (thus aiding the musician and making it more enjoyable to look at). Generally though, if I am doing the orchestration and copying, I will work directly into a Sibelius template which has all of my engraving and house style options set up. This saves A LOT of time and the client’s money.

What I’m generally aiming for is a clean look where there is some space both above and below each system. A system basically being a ‘line’ of music. The space is basically so that the player can scribble any adjustments around the music such as dynamic changes or a change of sound such as sul tasto or con sordino in the string section.



Above is a sample viola part from LEGO: The Incredibles which I had the pleasure of orchestrating, copying and music prepping (a posh term for the collating and printing of all of the scores and parts). You’ll see that I’ve got bar numbers on every bar so that the player knows exactly where they are at all times, and if the conductor says to go from bar 28, they know exactly where that is. Some copyists put them at the start of every system but I’ve spoken to session players directly and they say they prefer them on every bar.

You’ll see that I’ve written ‘lazily’ in English and ‘espressivo’ in Italian. You might be wondering why I’ve mixed between two languages and that is because I go with the term that will be most easily understood. I have no idea what ‘lazily’ is in Italian, but ‘espressivo’ is a widely used term in Italian, so it’s best to use it in that language (though it would of course be okay to use it in English too - it’s just preference). I’m not that bothered about using Italian-only terms and nobody has ever questioned it as a session.

You ideally want to stick to the phrasing of the music, though that’s not always possible with film music if it’s underscore-y type stuff with music that doesn’t have set 4 bar phrases. I also try my best to keep hairpins on the same system so that they aren’t split, and with a hairpin any longer than 4 bars I use ‘cresc’ or ‘dim’ text to avoid hairpins from being split across systems.


Working as a copyist is one of those things that sounds easy, but requires a high degree of knowledge of what works and what doesn’t at recording sessions. I’m going to quote something from the Spitfire Audio website because I think that this is something incredibly important, and it highlights just how important a good copyist is.

You can scrimp on many things, but if you think copying is glorified photocopying, you’re mistaken. The single most important thing you need in order to record some music is a pad of music to be on the stands, with the pages in the right order, the cues in the right order. If you don’t have this, you don’t have anything.
— Spitfire Audio

To add to that quote. There is no point having amazing compositions and fantastic orchestrations, only to be let down at the last minute by an inexperienced and bad copyist. Don’t let it happen.



Often, when working with a composer (especially one who hasn't had much experience working in a studio environment with session musicians), I'm asked what the deliverables are to make the process as streamlined as possible. The following may not seem particularly important, but it is definitely something to get right as early as possible in the process to avoid any confusion for either yourself or the orchestrator.


Undoubtedly, one of the most important things a composer can do at the start of the process when working on a television series or feature film etc is to get their template set up in orchestral order. Take note of the following and I will explain my reasoning shortly.

From the top of your template to the bottom, your orchestral template should look like this screenshot below:


I prefer sessions to be laid out this way because, as an orchestrator, I am required to sort through a seriously large amount of tracks and when I copy the quantized MIDI from Sibelius into my template Sibelius file (the file where all of my custom engraved fonts and instruments are laid out), I can almost copy line by line from top to bottom, rather than having to keeping scrolling up and down and then copying into the template file. For example, if the flute part is at the top of the session and then the oboe is down at the bottom where the double basses are, it means that I'm scrolling constantly trying to find where things are which wastes time. I’m happy to do that myself and this certainly isn't a complaint, but it'll cost the client more money and mean that the time I spend sorting through means I inevitably spend less time actually orchestrating.

It is really important to remove any variables and potential things that could be confusing which might slow an orchestrator down. For this reason, it's far easier to set up your DAW session in orchestral order from the start.



I actually prefer that the composer sends me their whole DAW session if they're working within Cubase, which is the DAW I use to quantize MIDI. It means that there can be no errors with the MIDI and usually all of the tracks have been coloured and are easy on the eye rather than an imported session of pure grey MIDI. I would recommend making a duplicate of all of your DAW sessions and adding '_ORCH' at the end.

For example:




This ensures that your original DAW files are always untouched. If I end up re-barring anything in my Cubase session, I tell the composer about it so that they can change it in their original DAW session for later reference.


Sometimes MIDI can bare very little relation to the actual audio that you're hearing and sometimes it can be wise for the composer to write a quick text document describing what particular sound they might be aiming for. This can be useful when the audio isn't exactly what they'd like to be recorded live, and the MIDI is no use to the orchestrator either. If you didn't write a text note here, the orchestrator would use their initiative and do what they think is best for the context, or they would call/email the composer and potentially waste their time or distract them from something important.

Often, if something in particular keeps appearing in a score, it is wise for the composer to inform the orchestrator that this is going to keep occurring. For example, on one film I worked on, the composer mentioned that whenever a certain theme was used, the minim in the second half of the third bar  was meant to be two crotchets. The reason the composer had just played a minim instead of two crotchets was because of the slow attack of the string samples.

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Hopefully this has cleared a dark cloud of confusion as to what you need to provide when working with an orchestrator!



Here’s a topic which divides a large proportion of the music community into two, and I’m sure many people have their own opinion on this which I’d be interested to hear. A lot of composers & orchestrators maintain the attitude that you must be well versed in orchestration, melody and harmony, whilst an equal amount of people play devil’s advocate think that the job of the film/tv/games composer is to worry about the picture they’re writing against, without having to worry about the array of colours and combinations that are available to us - this is the job of the orchestrator.

Whilst I would agree that you need to have at least a basic knowledge of orchestration, I would concur more with the latter statement. The composer should really be focussing on composing and not worrying so much about how the orchestra functions - I’d imagine that this would waste a lot of time and slow the composer down if it’s something that didn’t come naturally to them. To counter that, I would say that the mockup would sound a lot more realistic if they chose to think about orchestral function, and that’s partly why Andy Blaney’s Spitfire Audio demos sound absolutely phenomenal. That and he’s incredible at mockups of course.

Many composers I know/have worked with would probably admit that they don’t know the technical principles of orchestration through no formal academic training, but when you study their work, they actually have a great sense of harmony and orchestration without evening realising it. The age of writing into a DAW has given those who aren’t classically trained a huge opportunity and I’m personally pleased that this is the case, since I think that it opens up the playing field to a larger variety of composers.

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One common thing that I regularly see in composers’ DAW sessions/MIDI is lack of breaths for wind and brass instruments. Most composers are too wrapped up with the pressure of delivering the music on time and on budget to worry (or care) about whether the flutes can play for 12 bars at 90bpm in 4/4 without taking a breath. Some composers do use breath controllers, which enables them to play the notes into the keyboard and literally blow the CC data into their mockups. This basically allows them to assume the position of a wind or brass player by writing melodic phrases and lines that work well for those instrument groups. I usually find that expelling air as I play back the part in the mockup helps me to dictate if the line is actually playable, but if in doubt, check with a session musician. You also have to remember that playing louder requires more air to be blown through the instrument, particularly on low instruments like the tuba. When you have a series of repetitive notes in the winds or brass, it’s often wise to leave gaps in the lowest instrument, rather than have them play on exactly the same beats as the other low brass/winds. This is also good for giving the music natural accents by having the instruments like the tuba play only on the strong beats.

You’ll see in the screenshot above that I’ve got the tuba playing an octave below the bass trombone but instead of the tuba playing on every quaver, it only plays on the accents. It may seem totally counterintuitive to do it this way, but you’ll find that the tuba player will produce more power and force when they have more time to breathe and you’ll keep them happy this way. This is far more idiomatic than having them constantly blowing, which will tire their lips very easily if you’ve got them playing all the time at fortissimo in every cue.


Other details that composers might not be aware of are writing melodies in ranges that don’t project particularly well on that specific instrument whilst scoring a dense texture around it. This might work very well in a computer MIDI mockup, but in reality isn’t going to sound that great (or even be audible). It’s the job of the orchestrator to make this work within the context of the cue by finding a solution to the problem.

For example, if a composer has written a melody on a flute around the middle of the treble clef stave with a roaring french horn counter melody right in its sweet spot with high strings at a loud dynamic, there’s no way that you’ll ever hear the melody on the flute. This is purely because the flute doesn’t project well in the lowest couple of octaves in its range and cannot be played very loudly. As an orchestrator, it would be our job to flag this up to the composer long before we hit the recording studio which is where the bulk of the music budget is spent! £100,000 can easily be dispensed in a mere number of days with a full orchestra, so it is absolutely imperative that these details are ironed out long before the session takes place. In this situation, it might be best to mention to the composer that you won’t hear the instrument and ask them if it would be okay to try and move the melody up an octave, or by suggesting that we overdub that part as a separate entity in isolation so that they have full control over its volume at the mixing stage. Even then, it would be a bit pointless having the flute low in its range with a huge texture - pulling up the volume would still result in a buried sound.

Another option is to replace that instrument with another instrument that will cut through a bit more in the same register. What it is important for an newbie orchestrator to understand is that they most certainly do not have permission to start changing instruments which are playing the melody without first consulting the composer. At the orchestration phase, it’s highly likely that the cues you’re working on have been ‘signed off’, which in layman's terms basically mean that they’re been approved for by the directors/producers (and therefore require no further changes). This means that the directors/producers have heard the composer’s mockups quite a few times and have gotten used to what instrument is playing the melody etc.


Now more than ever, it’s important for a composer to have an interesting voice and capture the mood and vibe of a scene (if they’re writing the picture). Once this has been executed, we as orchestrators can go into depth and delve deep into the orchestration to figure out how to achieve this in the best possible manner with real session musicians. The above paragraphs are orchestration tips for composers to bear in mind, but I would still advise that the composer write in the way they feel most comfortable and then the orchestrator will sort any problems out. Hopefully this blog has described a part of the role an orchestrator takes on when they work on your music.