Hi guys, I hope everyone is well. I composed this piece of music then fed the audio and the image into chatgpt, just out of curiosity, and here's the description it came up with, which I thought was pretty accurate, though somewhat pretentious..
"A man stands before the ruin of worlds, reaching toward a colossal god asleep in storm-wrought clouds. Divine flesh pulses with ancient patterns; angels spiral like torn wings in flame. Light bleeds from the man's fingertip, brushing eternity. Silence screams. Time bows. In this dream, God is not salvation—but the abyss that remembers when creation first wept".

SOFTWARE USED :
FL Studio
Cinematic Studio Series (Strings, Woodwinds, Brass)
Cinematic Strings 2
CineBrass
CinePercussion
True Strike 1
Berlin Woodwinds + Berlin Woodwinds Soloists 1
Berlin Inspire 1 Harp
Randy's Celeste
Choirs : Oceania 1, Olympus Micro, Streznov Essentials
Reverb : Cinematic Rooms
Mastering by Cloudbounce

© 2025 Paul Cassidy
THE REPRODUCTION OF THE MUSIC HEREIN CONTAINED IS PROHIBITED WITHOUT THE EXPRESS CONSENT OF THE AUTHOR

God Dream

Lover of orchestral film scores and epic music.

I had started making music in the 90s with my Amiga 500 but it wasn't capable (me neither) of producing the sound of a whole orchestra.

The diverse musical expressions in filmscores have a bigger emotional impact than any other genre I can think of. My music is heavily inspired by the great composers around 1980-2000, like John Williams, Jerry Goldsmith, James Horner, Basil Poledouris and Hans Zimmer.

With synthesizers, a whole new world of sound has entered the arena and merges with the orchestra to a fantastic sonic experience.

I try to tell stories and convey emotions in my pieces to take you onto a journey into unknown territory.

If you use generative AI in any form to create "your music", don't bother with my profile, you are not welcome here.
AI music generation detector: https://www.submithub.com/ai-song-checker
I do not support the use of generative AI in music creation. I will not support people who use such technologies nor will I use them. The two songs I posted only serve to raise awareness of the existence of such technologies and as a warning.

At the beginning I would like to sincerely apologize that I am responding to comments late and I am sometimes unable to keep up with listening to your work, but I still work full-time in a profession that has absolutely nothing to do with music and I have my duties towards family and home.

To everyone who flew into my corner on SoundCloud: I am grateful for your support with likes, shares and thank you for the great comments. Please don't hesitate to suggest changes to my music in them. Thanks to this, the next songs will be better and better.

All my music is MIDI (except some drum loops), played/created by me and edited in Ableton Live.

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Born in 1970. Music fan since 1985. Now heaving fun with making music. I'm self-taught, playing everything by ear. Started in 1990's but due to certain circumstances left in 1998 until April 2022. My music is created in Ableton Live 11 Intro (until december 2022) and 11 Standard with mostly free plug-ins. Fan of soundtracks (my personal heros are John Williams, Clint Mansell, Philip Glass, Thomas Newman, Hybrid, Hans Zimmer and much more), world music (Dead Can Dance), chillout (Bent, Zero7, Groove Armada, St. Germain, Air, Röyksopp, Kosheen and more), trip-hop (Massive Attack, Portishead), acid jazz (Us 3), fusion (Pat Metheny Group, Dirty Loops), progressive rock (Porcupine Tree), classical (Tchaikovsky, Mozart, Debussy, Orff, Mussorgsky) electronica (Imogen Heap), IDM/House (Moderat, Apparat, Plaid) and electronic music (Vangelis, Kraftwerk, Isao Tomita, Marek Biliński, J.J. Jarre).

Still learning how to produce music.

FB https://www.facebook.com/profile.php?id=61580446084765

Multiple award winning composer based in London. My passion is to compose cinematic orchestral music, mostly Sci-Fi and Fantasy. I also do commission work. Examples can be found on this channel, or on my Youtube channel.

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Eric Schultheiss stands at the vanguard of contemporary composition, forging a unique path that bridges the rhythmic drive of global percussion with the infinite possibilities of digital sound. As a composer, percussionist, and educator, Schultheiss is acclaimed for his hybrid electro-acoustic works—pieces that fuse the organic pulse of drums with orchestral richness and the sonic innovation of modern electronics.

Rooted in a Southern California upbringing steeped in progressive rock, classical discipline, and the improvisational freedom of jazz, Schultheiss draws on a vast tapestry of influences. His music channels the off-kilter accents of Stewart Copeland, the lyrical intensity of Neil Peart, the storytelling depth of Peter Gabriel and Sting, and the progressive artistry of Genesis, Dream Theater, and Spock’s Beard. This synthesis results in compositions that are as intellectually rigorous as they are emotionally evocative.

Currently, as Head of Percussion Studies and Electro-Acoustic Composition at the Middle Tennessee Conservatory of Music, Schultheiss is an outspoken advocate for the DAW as a true instrument. In his hands, digital workstations become canvases for sonic experimentation, allowing for real-time orchestration, microscopic precision, and the layering of polyrhythms and timbres that would be impossible with traditional notation alone. He champions technology not as a shortcut, but as an authentic extension of the composer’s voice.

Signature works such as Lights Twinkle—a Christmas percussion-ensemble piece blending Japanese Taiko, harp, and haiku-inspired vocal textures—showcase his ability to unite tradition with innovation. Airidea’s Journal explores the dialogue between structure and freedom through dance-driven percussion and atmospheric synths, while As You Sleep and Terminal Memory reveal Schultheiss’ penchant for ambient soundscapes, introspective melodies, and cross-media collaborations. His compositions have been commissioned for film, dance, and multimedia productions, performed by leading ensembles, and praised for their intricate interplay of rhythm and resonance.

As an educator, Schultheiss is dedicated to shaping musicians who are not only technically skilled but also creatively fluent in both acoustic and digital modalities. At the Middle Tennessee Conservatory, he mentors young composers in hybrid techniques, polyrhythmic structures, and DAW-based workflows, encouraging them to embrace technology as a creative partner. His influence extends beyond the classroom, as he helps students gain visibility in the digital era and equips them to thrive in an evolving musical landscape.

Through his relentless curiosity, innovative spirit, and commitment to artistic growth, Eric Schultheiss is redefining what it means to be a composer in the 21st century. His work is a testament to the power of bridging tradition and technology, and to the limitless frontiers that await those willing to explore them.

In addition to SC - tracks available on 
Spotify: http://bit.ly/3sGsCG8
iTunes: https://apple.co/2RAe9DU
Apple Music: https://apple.co/40TPePO
Youtube Music: https://bit.ly/40Uky0W
Amazon Music: https://amzn.to/3QZhU5C

Composing using PC, Cubase Pro, Reason and various orchestral libraries among others. Focused mainly on orchestral, atmospheric, cinematic soundtrack style.

For licensing queries and commision work contact Sturle on Sturlestrausscomposer@gmail.com

God Dream

Paul Cassidy Orchestrations