Wow great stuff from Jay and William. I must confess to being particularly thrilled by Williams piece since it's original. Nothing quite like hearing an original work for the first time. Such terrific writing there and stellar production.

William and Jay, do you guys use much EQ on the Appas strings or not much in general? How (in what manner) are you using the Orch Strings along side the Apass? - as 2nd string groups?

William once again I must ask about your huge low brass. Am I hearing Wagner tubas and C Tubas as well as C Trombone?

Just sounds great you guys.

Thanks Dave. The low brass is the standard tuba and bass trombone with two tenor trombones. Though I have been using the ensemble trombones for 1, and the solo for 2 in order to maintain the number of players when doubling. Also there are some low horns in parallel octaves with tuba.

I was lucky enough to have the masterful Dietz on this mix, so don't know the specifics of what EQ was done, though I thought his mix sounded fantastic.

Thanks William. It's one of the best things done with samples I've ever heard so it really shows what great orchestration and great engineering (wonderful there Dietz) do when they come together.

Jay, once again you have a fantastically realistic reverb going on in there. Can you share your secret? Like which Altiverb & mike placements?

Kerry

I also have a question for Jay.

I understand that the people who have the Howard Hanson symphony rights were reluctant to allow these recordings. How was this resolved? It is a fine performance.

I was thinking how much I like these Howard Hanson works, and how he is a beautiful example of how the mania for atonalism in the 20th century destroyed many great composers. Another example is Franz Schmidt. I say that as someone who LIKES atonalism and loves Edgar Varese and in fact agrees with his radical statement that "12 tones must be abandoned" but at the same time, agree with Schoenberg that there is a lot of music still to be written in twelve tones and Howard Hanson was completely dismissed because it was assumed his work could not be any good because it was not dissonant. So I feel these unpublished symphonies should be performed complete, maybe with this approach of state of the art sampling, to bring them to new listeners who have been deprived of them because of the Neo-Classical prejudices of the 20th century.

Super Duper - Love it! [:D] Just emailed my comments.

Miklos.

Kerry-- I used Mechanics Hall (thanks to Alex Temple for the idea) 20 m with the mute direct button enabled. Strings were 40% wet, Horns 50% wet, Woodwinds & Brass 60% wet. That's it.

William-- I finally communicated with the manager of Licensing & Copyright at Carl Fischer. After answering his concerns, he was kind enough to give permission to do some virtual performances.


Best,
Jay

Jay, thanks for the tip -- I'm gonna give that one a shot next time. I keep defaulting to the Sydney Opera House, and the sound of it is getting a little tired.

Really nice work.

- kerry

Just listened to William's which is a real gem with it's authetencity of syle. Very well executed and lovely piece of music. Nice mix Dietz.