Our Case Studies
Paul Campbell (orchestration)
John Langley (Music Preparation)
“The production of film scores today requires a well oiled and completely efficient machine. Being ahead of the clock, pre-empting problems and planning for instant changes, all vital for the best results. Paul and John are not only a pleasure to work with, but hard working, efficient, responsive, nothing was a problem and when we got to the sessions everything was where it should be, beautifully presented for the composers, the engineers and musicians. During the recording they were always on stand by for changes, suggestions and solutions. I work very long hours on scores, every day of the week, I need an orchestration and music team that sits along side me, at all times, quick to respond, quick to adapt, and always maintaining a positive approach no matter how great the pressure. I get this from Studio Orchestrations.” 
Guy Farley

We were introduced to film composer Guy Farley in 2015 by his colleague Christopher Slaski, as they worked together on the feature length documentary thriller “A Good American”(2015). Paul orchestrated all the cues for both composers, culminating in a bumper ten hour session day, recording 60 minutes of music at AIR Studios (London). Since then, Paul has orchestrated for Guy on several projects, including all the cues for the epic sonic landscape of Bear Grylls: Endeavour (Live Arena Tour), Anthropoid (2016), Christmas trails for Morrisons and the BBC (2016) and That Good Night (2017, the last movie to star the late, great Sir John Hurt), with John providing music preparation services in each case.

Paul travels to London from Belfast for each session, assisting Guy from the control room, ensuring that the session flows smoothly and providing continual musical feedback, while John is on hand, not only to print and pad up all the music for the orchestra in session from the London office of Studio Orchestrations, but also to deal with any issues arising from a copyist and library perspective.

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