An AI orchestra for film composers

Published October 2026

Two ways in. Give the studio a cut and let the AI composer write a first draft you rewrite in your DAW, every part as audio and as the MIDI it was played from. Or bring your own parts and have them played to picture by more than 60 instrument models, one stem each, checked against your notes.

A draft to rewrite

The draft is a starting point, not a WAV. Every part lands on the studio's timeline with its notes; export the whole score to Logic Pro or Ableton Live and each part is a track with its MIDI on the film's tempo map, at the mix's levels and pans. Keep the spotting and the timing, rewrite the music.

Your parts, played

• Your notation or MIDI. A MIDI file or a MusicXML export plays as a whole score, one stem per part, with dynamics, hairpins, staccato, accents, pizzicato and mutes performed, transposing parts read at concert pitch. See MIDI to audio.
• A section is one part. Violins I with eight players is written once and played as a section.
• Checked against your notes. Each part comes back with a receipt: the share of your notes it played, its timing, and a verdict, so a part that missed is caught before you hear it.
• To picture. Hit points in SMPTE timecode, drop-frame included, become a tempo map that puts each hit on a downbeat.

Mockups for a director

Send the scored film, the printmaster and the stems for a spotting session or a pitch, then take the notes back into your DAW. Mix styles for the picture (an orchestral film mix, a scoring-stage mix for TV, a hybrid trailer mix, an animation mix) seat the parts in a hall without a template.

What you get back

• The scored film: your picture, copied untouched, with the new soundtrack (MP4 with AAC 320k, or a MOV with 24-bit PCM if that is what you sent).
• The printmaster: the whole mix as a 24-bit, 48 kHz WAV, normalized to the delivery loudness you pick (web −16, streaming −14 or broadcast −23 LUFS) with the true peak under the limit.
• An M&E: music and effects without the dialogue, for a dub or a trailer.
• Dialogue, music and effects stems, when your film had a soundtrack of its own.
• Every cue's mix and every part as its own stem, with the notes it played, on a timeline you can keep editing.
• A Logic Pro or Ableton Live project of the whole score, one button from the studio.

What it costs

Watching the film, mixing and delivery are free. The performances use credits, like any render on Doseedo: 10 credits for every 30 seconds of music for each group of up to six parts, and a flat 20 to split the film's own soundtrack. A one-minute scene with a mid-size orchestra is usually 60 to 140 credits; the panel shows the estimate for your film before you start, beside what you have left.

A free account comes with 120 credits a month. Pro is $12 a month with 2,000. You own what you make, to the extent the law allows (Terms §6.3).

Honest limits

• Instrumental only. No songs, no vocals.
• Instrument models, not a session orchestra. They are trained on real recordings and each part is checked against its notes, but a live orchestra on a scoring stage is a different thing, and a picky ear will hear it on exposed solos.
• It sees the picture, not the plot. The composer reads the keyframes to decide what a scene is about; your direction is what tells it what matters.
• Long films are scored in up to eight cues per pass, the ones the picture needs most. Ask for more afterwards.
• Splitting a busy soundtrack is not perfect. When the old music is replaced, some of its percussion can stay in the effects, about 10 dB down.

Related

• AI film scoring
• MIDI to audio with real instruments
• Render MIDI with real instruments
• Score a film with an AI agent