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Broadcast Television and Film Composers Bio & Credits

About Orchestronics: 

   For many years, composers have given synthesizers and samplers a place alongside guitars and drums, becoming staples of rock, pop, jazz, new age, dance music, television and film scores.  Electro-acoustic classical music is also coming of age.  Electronic classical music has even spawned its own genre on many popular music sites.

   Ever since Switched On Bach, (Wendy Carlos' landmark 1968 recording of Bach classics performed on an early Moog synthesizer), electronic instruments have proven themselves capable of handling classical challenges.

    Long ago, composers like Jean Michel Jarre, Alan Parsons, and Mike Oldfield brought electronic instruments one step closer to classical music.

Computer MusicNow, as computers, phones and tablets compete with TVs for the family's attention, electronic sounds are much more familiar and a part of daily life.

  From a studio in San Diego, California, Orchestronics has independently released a series of cd's.  Each album/cd features pieces with new ensembles of instruments, from electro-acoustic duets, to philharmonic orchestras.  Some unique combinations may have never been heard anywhere else before.

   Many other electronic classical artists record electronic realizations of standard classical repertoire, but composer Joe Wiedemann's music is all original.

   Some other electronic classical composers write music for exclusively electronic instruments, or computer generated sounds, while Orchestronics experiments with a vast collection of electro-acoustic orchestrations, such as:

-Two at a Time, Please!, a series of electro-acoustic duets with varying instruments,
-Repeat After Me,
a musical experiment that takes a theme, plays it first on a piano, then shares it with different electronic instruments, one by one,
-Duet for Any Two Keyboards, scored for ANY collection of acoustic or electronic keyboards,
-Four at a Time, Please!, scored for either any four instruments (acoustic or electronic), acoustic sectionals (woodwinds, saxes, etc.), or for full orchestra, with only four instruments playing at any one time, until the tutti finish,

-Piano Concerto No. 1, for acoustic piano and electronic orchestra
-Concertos  1 and 2 for Synthesizer and Acoustic Orchestra, the inverse orchestration of Piano Concerto No. 1,
-Electronic Symphony No. 1, scored entirely for an electronic orchestra

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