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Steffan Andrews

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  • Location
    Vancouver, BC, Canada

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  • Biography
    Steffan Andrews is a Gemini-nominated composer specializing in animated television series.

    Steffan has produced more than 2000 minutes of score spanning hundreds of episodes for titles such as My Little Pony: Friendship is Magic, Littlest Pet Shop, Pound Puppies, Voltron Force, League of Super Evil, and more. He has also produced music for video games, including titles from Electronic Arts.
  • Real Name
    Steffan Andrews
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Artist Settings

  • Collaboration Status
  • Software - Digital Audio Workstation (DAW)
    Digital Performer
    Pro Tools
  • Composition & Production Skills
    Arrangement & Orchestration
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)

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Steffan Andrews's Achievements


Newbie (1/14)

  1. I wouldn't even think twice about 8 inch drivers. They make a significant difference compared to even 6'ers.
  2. They're ridiculously cheap and pretty reliable. Plus, I wanted them all to match.
  3. Yes. Finally someone using Reaper. Edit: Put on my glasses. Sorry, not Reaper. Disappointed
  4. I just moved my studio to a new location. I will post photos soon when I have time to take some snaps.
  5. No, it's easy to say when you're out of school and working. When I was at college taking audio engineering for two years, I couldn't afford anything, and I had to quit my job in fact. I'm saying WHEN you have the opportunity, pursue it.
  6. That logic sounds fishy. If it's what you want to do, pursue it. Otherwise the McDick's down the street will always need someone to fill their saturday evening shifts.
  7. And in case you didn't know, music for the film, TV, and gaming industries nets you some serious coin. Hence the affording of lots of gear.
  8. Skill + gear = money money = more gear more gear = better music and capabilities = more money more money = more gear Yay.
  9. Couple things to watch out for: SampleModeling released a sax that sounds pretty amazing (does not surprise). Wallander is working on releasing a line of saxes. Currently you can test the tenor sax in the trial download. It's in development but will be interesting to see how creating ensembles will sound for big band stuff.
  10. Here's a tip: working composers typically assemble their templates from dozens of libraries, not just one. That takes not only an investment of money, but a significant investment in time. Half the science of being a working composer is researching the best of the best for each instrument, finding which ones are efficient to use and how to properly manipulate them to achieve the best degree of realism. Even just that can be a full-time job - never mind the hardware, software, workflow, audio engineering concepts, and of course composing and orchestration skills.
  11. Basically the layman's glossary of terms for all things mainstream computing? Might be good to denote that it's PC-centric unless you plan on having Mac-specific proprietisms discussed. Many terms and concepts pollinate both PC and Mac camps, but unless the differences are stated, it could be confusing. I started a comprehensive rundown of 64-bit OS's including memory limitations and practical uses on my site, but it's a bit of a mess. Needs an overhaul and proper organization, as well as updating.
  12. Keyboards that include synth engines and sounds are good if you do live gigs. They're somewhat limited in a studio setting, and have a little more of a learning curve than throwing up a software plugin in order to get multitimbral sound. In the long run it's usually better to spend the bucks on a decent controller, especially if you're on a budget. Unless you're spending a whack of cash I usually find that you're going to compromise on either the action and quality of the controller, or the features of the sound module. A lot of manufacturers are a business first, and cater to musicians second. They're in it to make money and will cut corners wherever they think they can.
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