Midsummer

In which I take Igudesman Solo Violin (sample library collab with Orchestral Tools and Aleksey Igudesman) for a spin, share what I think it's great for, and break down the official demo I wrote for this library, "Elementary Perceivers". Library Link: https://www.orchestraltools.com/store/collections/igudesman-solo-violin

Elementary Perceivers - Igudesman Solo Violin Demo

composed, orchestrated and produced by Robin Hoffmann

(c) 2023 by Robin Hoffmann. All rights reserved.

One Last Journey

Official Demo Playlist for Drones by Alexander Hacke
www.orchestraltools.com/store/collections/drones
www.facebook.com/orchestraltools
www.twitter.com/orchestraltools

Arkanum by Emmanuel Jacob

Transform your content into a realm of endless possibilities with the Fantasy Adventure and Exploration music pack. Through the evocative power of orchestral arrangements, each track transports players to lands both familiar and mysterious, sparking the thrill of exploration and capturing the essence of a grand, epic journey.

White Stone City

Official Demo Playlist for Monolith by Richard Harvey
https://www.orchestraltools.com/store/collections/monolith
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Future Gods by Emmanuel Jacob

Comfort

Composed & Produced by Brock Hewitt

Strings Performed by Quintessence Ensemble
Mastered by Zac Tiessen

Recorded at Stories in Sound Studios

Copyright 2024 Stories in Sound

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You can listen on Spotify, Apple Music, Youtube and other major music streaming platforms!! 

https://open.spotify.com/artist/1PWCCcjCmwzjYb48VWpGcm?si=AGbTh7BNR46WA3UocUj8Tw

https://music.apple.com/ca/artist/brock-hewitt-stories-in-sound/1227900382

Stream/Download

Comfort

Watch video at: https://youtu.be/EKCTU6_f3tY

Hecticism

Composed and Orchestrated by Khaled Al Kammar, September 2024

موسيقى مسلسل مطعم الحبايب

مطعم الحبايب

Survivor ~ Track 8 ~ Overloading

A catastrophic system failure forces immediate action. Red lights flash across the cabin. Alarms scream. The protagonist moves with deliberate precision under extreme pressure, his hands flying across emergency protocols.

This sequence called for something different than hectic chaos. I wanted controlled intensity - almost like a thriller. I thought of the TV show Silo as a reference point: that sense of mounting pressure contained within precise, deliberate action.

The first half of the cue is restrained: long sustained notes hover over a subdued but driving beat. The tension is coiled, controlled. The camera work matches this - measured cuts between his face and his hands as he methodically works through the crisis.

But as the situation escalates and becomes more hectic, the music transforms. Fast string ostinatos begin to build, layering on top of each other. Taikos gradually increase in intensity, their thunderous hits punctuating each critical decision point. Status displays show failures escalating toward catastrophe.

Finally - success. The systems stabilize. But rather than release into relief, the cue explodes into a defiant, intense rendition of the Protagonist Theme. Purpose begins to crystallize in that moment - this is just the beginning.

08 ~ Overloading

I’m a composer based in Chicago, and for as long as I can remember, storytelling has been a part of who I am. When I was a kid, I used to turn my bedroom into a spaceship set and film little sci-fi scenes with two VCRs I borrowed from my dad. I didn’t know what I was doing, but I knew how it made me feel. Even back then, I imagined the music behind everything I created.

That never went away.
If anything, it grew.

Today, I write cinematic orchestral music that’s driven by emotion and atmosphere - the kind of music that feels like it belongs to a story, even if the story only exists in your imagination. I’m inspired by composers like Bear McCreary, John Williams, Gareth Coker, Stephen Barton, Joris de Man… people whose work doesn’t just support a scene, but actually becomes part of its heartbeat.

My music tends to live in that space between quiet reflection and something much larger - moments of isolation, wonder, awe, tension, and the things we carry with us when no one else is around. I write as if I’m scoring scenes from a movie that hasn’t been filmed yet, letting the emotion lead the way.

Some of my work is big and conceptual, like Survivor, which follows a lone astronaut through fear, discovery, and the unknown. Other pieces are smaller, inspired by memories, personal moments, or just the feeling of something unresolved that needed a place to land. No matter the scale, I try to make everything honest - something that feels lived in and real.

If you’re here listening to my music, I genuinely appreciate it.
I hope it takes you somewhere meaningful…
or helps you feel something you didn’t have words for.

08 ~ Overloading

Sami Takieddin

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