{"id":39457,"date":"2026-02-12T16:06:50","date_gmt":"2026-02-12T21:06:50","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=39457"},"modified":"2026-05-11T15:55:35","modified_gmt":"2026-05-11T19:55:35","slug":"new-york-university-splice-workshop","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/new-york-university-splice-workshop\/","title":{"rendered":"The future of scoring: How NYU students are bridging MIDI and modern production"},"content":{"rendered":"\n

Splice had the privilege of leading a workshop for 17 young film composers at NYU Steinhardt, diving into the need for technical fluency in music production.<\/h2>\n\n\n\n

The class, typically focused on traditional MIDI and DAW skills, hosted Sr. Content Producer Niall Hoban<\/a> who demonstrated how to blend classical composition theory with the sound of the contemporary charts.<\/p>\n\n\n\n

The session focused on careers in scoring and production, demanding fluency in sound design and sampling.<\/p>\n\n\n\n

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Part 1: From sample library to synth mastery<\/h2>\n\n\n\n

Niall, whose background spans audio engineering and content creation for Splice\u2019s in-house labels, opened the session by showcasing how Splice acts as both a library and a laboratory.<\/p>\n\n\n\n

The first demonstration centered on the popular synth, Serum 2.<\/a> For students familiar with orchestration, Niall showcased how Serum can be a deep synthesis engine capable of complex textures.<\/p>\n\n\n\n

“I’m a big believer in picking one or two synths and learning them like you would learn to play the piano or the guitar,” he says. “Preferably, a versatile synth that can make a lot of different sounds. Learning to make different types of sounds with a synth will deepen your understanding of sound design.”<\/p>\n\n\n\n

The conversation pivoted to the intentionality behind sound design. By reverse-engineering a custom patch, students learned that genre-defining sounds\u2014like those found in modern drum and bass<\/a>\u2014are not random; rather, they are achieved through meticulous sound engineering that balances overtones and fundamental frequencies. Using presets<\/a> (and analyzing them) is the fastest way to learn this balance, accelerating a student’s ability to create a complex score.<\/p>\n\n\n\n

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Part 2: The easiest way to beat composer\u2019s block<\/h2>\n\n\n\n

For students tasked with capturing rapid ideas, Niall demonstrated how Splice\u2019s AI tools act as a “sketch pad.”<\/p>\n\n\n\n