Why THE ORCHESTRA COMPLETE 4 Was Designed: A Composer’s Perspective

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Why THE ORCHESTRA COMPLETE 4 Was Designed: A Composer’s Perspective
Tobias16:24July 15th, 2025
Why THE ORCHESTRA COMPLETE 4 Was Designed: A Composer’s Perspective

 

 

Sonuscore’s THE ORCHESTRA COMPLETE 4 was created to keep technology out of the way so composers can shape ideas quickly, test them with full orchestral colour, and focus on the music. Founder Tilman Sillescu explains the thinking behind their most comprehensive scoring engine yet.

In a recent discussion with Tilman Sillescu, founder of Sonuscore, we explored the thinking behind THE ORCHESTRA COMPLETE 4, the latest evolution of their flagship orchestral engine. The conversation revealed not only what is new in this version, but also the deeper philosophy that continues to guide how Sonuscore designs its tools. It is all about keeping technology in the background so composers can focus fully on writing music.

 

Why THE ORCHESTRA Exists

When Sonuscore first created THE ORCHESTRA, the aim was to give composers a way to realise orchestral ideas instantly, without the usual technical barriers. Many earlier libraries provided impressive ensemble sounds, but often at the cost of flexibility. You could play something powerful immediately, but changing the balance of individual sections or adjusting articulation detail was often difficult or simply not possible.

Tilman explained, “For me, it was always about hearing ideas quickly. I want to know if something actually works musically, not just on paper.” This led to Sonuscore’s decision to record orchestral sections separately and build an engine that allowed composers to blend, mix and shape them in real time. From the start, it was about shortening the distance between spontaneous sketching and precise orchestration.

Over time, they expanded this concept with titles like STRINGS OF WINTER, HORNS OF HELL and WOODS OF THE WILD, each adding more instruments and articulations. Now existing and new material culminates in THE ORCHESTRA COMPLETE 4’s FORCES OF FURY.

A Familiar Approach, Simply More Capable

What stands out with THE ORCHESTRA COMPLETE 4 is how much it adds without changing how the library works. Tilman said, “You can move from the original THE ORCHESTRA to THE ORCHESTRA COMPLETE 4 and you will feel completely at home. The interface is familiar. You load a preset and play. But the results are richer and broader. There is more power without any extra complexity.”

THE ORCHESTRA COMPLETE 4 builds on the existing strengths with several important enhancements. There are new string ensembles recorded with more players, designed specifically to achieve a warmer and fuller cinematic sustain. “We wanted the strings to sound bigger. Many composers asked for that broader sound,” Tilman said.

There is also new percussion recorded in London. It includes taikos, concert bass drums, snares, toms, metals and prepared piano. These recordings give composers a strong foundation for building high-impact scoring without needing extra libraries.

The new add-octave feature means each slot can instantly double at the octave. This dramatically expands the orchestral scale with a single click. Tilman said, “We were surprised ourselves how big the difference was. It almost feels like you have twice as many slots. You play the same part, press one button, and suddenly it is like two violin sections are there instead of one.”

Another highlight is the 150 new presets. Many are structured like complete cues with intros, main sections and outros, all navigated by simple keyswitches. “It allows you to build entire passages without heavy sequencing,” Tilman explained. “You stay focused on the music.”

Composing With Immediate Feedback

Tilman was clear about why this matters. “I am impatient. I can imagine the orchestra in my head, but it is not the same. I want to play something and immediately hear how it sounds. Then I know if it works or if I should try something else.”

This is really the core idea behind THE ORCHESTRA. It is not about bypassing the craft of composition. It is about reducing the time between having a musical thought and hearing it performed by a convincing virtual orchestra. It avoids spending hours setting up large templates or programming intricate MIDI only to discover that an idea does not hold up.

Presets That Follow Compositional Logic

A significant improvement in THE ORCHESTRA COMPLETE 4 is how many of the new presets are structured like actual scoring cues. They include sections for introductions, main ideas, variations and endings, all triggered through simple keyswitches. This lets composers shape the arc of a piece directly from the keyboard without having to build multiple tracks or automation setups.

“With THE ORCHESTRA COMPLETE 4, you can start with a sparse rhythm, then switch to a fuller version of the same idea. It is very close to how real film scores develop,” Tilman said. This design grew out of Sonuscore’s experience with tools like THE SCORE, which also focused on cue-based structures. In THE ORCHESTRA COMPLETE 4, it means ideas can evolve naturally without adding technical overhead.

Still A Traditional Library When Needed

For all these new workflow features, THE ORCHESTRA COMPLETE 4 remains a traditional orchestral sample library. All the new instruments, including strings, percussion, brass and woodwinds, are available as individual NKIs. This means composers can move from broad sketches using ensemble slots to detailed, note-by-note orchestration as a piece matures.

Tilman stressed, “Many composers do not even realise that we provide all these single instruments. You can start with the ensemble to see if an idea works, then you can add individual lines or even replace parts in your DAW. That is how I work on my own projects.”

New Percussion Recorded In London

A major part of THE ORCHESTRA COMPLETE 4’s expanded sound comes from the new percussion sessions in London. These included large taikos, concert bass drums, toms, snares and more. They were recorded to bring the scale and presence needed for cinematic scores.

“We wanted drums that could really carry a trailer or an action scene,” Tilman said. The percussion integrates fully with the orchestral slots so composers can adjust patterns, change accents or move from an eighth-note feel to sixteenths with just a few clicks. It all happens without resorting to complex manual sequencing.

Reflecting How Composers Actually Work

For many composers who have spent years in bands, THE ORCHESTRA COMPLETE 4 provides a familiar creative environment. You try an idea, listen to how it fits, then adjust or explore another variation. The tool does not impose a rigid technical process. It gives composers the freedom to let the music lead and evolve naturally.

Tilman described it this way. “I always imagine it like being in a room with really good musicians. You can say, ‘Let’s try this in A minor at 120, with the strings on the off-beats and the brass holding the root.’ They play it immediately. Then you say, ‘Now a bit faster, maybe in 7/8,’ and they just do it. You hear right away if it works. That is the dream I have, and that is exactly what we are building with THE ORCHESTRA.”

This mirrors how many songs and scores are actually shaped. It is about testing ideas, hearing the results quickly and deciding whether to develop them further or move in a new direction. THE ORCHESTRA COMPLETE 4 allows composers to explore possibilities in real time without getting stuck in programming or technical detail. It is almost like rehearsing with an ensemble that is always ready to play the next idea.

Not About Oversimplifying, But Removing Obstacles

I asked Tilman how he responds when people suggest products like THE ORCHESTRA COMPLETE 4 make things too easy. His answer was straightforward. “This does not replace musical skill. It does not simplify the music. It simplifies the process so the music can come first.”

He added that timeframes and budgets are tighter than ever for composers working in film, television and games. A tool like THE ORCHESTRA COMPLETE 4 means you can try ideas, see if they resonate and refine them. It helps avoid wasting time on directions that would not work anyway. “It is not about being less of a composer. It is about getting to the heart of the idea faster,” he said.

A Tool That Grows With The Composer

At its core, THE ORCHESTRA COMPLETE 4 is about giving composers more room to create. It works whether you are quickly building a mock-up, developing a detailed arrangement or exploring ideas under deadline pressure. It keeps technical barriers low while keeping musical control high.

By adding more sound and more flexibility without adding unnecessary complexity, Sonuscore has remained true to its principle. As Tilman summed up, “We want the technology in the background. The composer should always stay focused on the music.”

TILMAN SILLESCU

Creative Director Music • Co-founder of Sonuscore

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