Vienna Symphonic Library Forum
Forum Statistics

200,772 users have contributed to 43,211 threads and 259,131 posts.

In the past 24 hours, we have 2 new thread(s), 12 new post(s) and 46 new user(s).

  1. Home
  2. Orchestration & Composition
  3. Your Music
  4. Another...

  • Another...

    J
    J
    Well, after reading the "something to think about" thread, I feel almost shameful that I have a couple of cymbal rolls in this piece. [:(]

    Anyhow,

    "Cannot be bothered to think of a name" (catchy eh?)
    http://www.northernsounds.net/useruploads/img4129ad401114a.mp3

    James
  • A
    A
    realistic from beginning to end. Love the woodwinds "mess" at the end. would love to see the tracks on those.

    I'ts the most realistic demo I've ever heard. Is it with vsl and sam horns?

    Tobias Marberger
    James McWilliams
    Evan Evans

    Great composers!

    Hey Evan! since you've been "gone" so long... do you have any new songs we can hear?
  • J
    J
    Thanks,

    Yes, all VSL apart from the loud trumpet near the end. Some G-town freebie percussion too (cymbals).
  • P
    P
    last edited
    last edited

    @James McWilliams said:

    Thanks,

    Yes, all VSL apart from the loud trumpet near the end. Some G-town freebie percussion too (cymbals).


    There's nothing like output. You're getting quite good at this aye James?

    Was it something I said? [:D]

    Best one yet. Excellent!

    Paul
  • J
    J
    last edited
    last edited

    @James McWilliams said:

    Thanks,

    Yes, all VSL apart from the loud trumpet near the end. Some G-town freebie percussion too (cymbals).


    There's nothing like output. You're getting quite good at this aye James?

    Was it something I said? [:D]

    Paul

    Cheers! [H]
    Yeh, I'm trying to pull myself out of my creative pit that I got stuck in, too much worrying not enough working! [:D] Well... worrying while you work at least [;)]
  • JBacalJ
    JBacalJ
    Wonderfully atmospheric!
  • W
    W
    I agree, a good sound with the trills and legato articulations. Do I hear a choir in this or am I hallucinating? (Probably.) Anyway, it sounds good. It makes me want to hear an entire longer piece that this could develope into.
  • E
    E
    Hey I am about to listen to this, was listening but the load time was slow and it stopped. It sounds terrific so far.

    But first,

    Audun,

    Gee whiz, thanks for the compliment ... my goodness. And, yeah, I have some new stuff I can share soon. I am actually inbetween moves so I will get some new stuff posted when I get back my studio and all setup.

    Evan Evans
  • E
    E
    Really neat stuff. Do I hear some Howard Shore in there? LOTR?

    Well, I really liked the horn stuff you did. I did think the percussion was too dry and close compared to the woodwinds, brass, and strings.

    I know I am getting to be a pain always harping on this ... the orchestrations could be denser and richer I think ... but certainly even in this form it could stand on it's own as a kind of peculiarly artistically orchestrated personal work.

    I really like it.

    Evan Evans
  • J
    J
    last edited
    last edited

    @evanevans said:

    Really neat stuff. Do I hear some Howard Shore in there? LOTR?

    Well, I really liked the horn stuff you did. I did think the percussion was too dry and close compared to the woodwinds, brass, and strings.

    I know I am getting to be a pain always harping on this ... the orchestrations could be denser and richer I think ... but certainly even in this form it could stand on it's own as a kind of peculiarly artistically orchestrated personal work.

    I really like it.

    Evan Evans


    Hey Evan,

    Could you elaborate a little on this for me? [:D] Do you you mean I should add more instruments to the orchestration?

    Cheers,

    James
  • J
    J
    last edited
    last edited

    @William said:

    I agree, a good sound with the trills and legato articulations. Do I hear a choir in this or am I hallucinating? (Probably.) Anyway, it sounds good. It makes me want to hear an entire longer piece that this could develope into.


    Yep, I got hold of Symphony of Voices [:D]

    There is actually no trill patches in there, all legato patches...pretending to be trills [;)]
  • W
    W
    I knew you had done that with the legato on some of the trills but did't realize they were all like that.

    It is interesting how that particular effect completely and instantly contradicts the "sampled" quality of sound. In other words, if someone is listening and wondering: "Is this done with computers?" as soon as they hear these VSL performance samples they immediately think: "Nope. It couldn't be. That's a real player there."
  • E
    E
    Yeah that's actually how I do all my trills too. If whenever possible a technique can be constructued via non-technique sampled avenues, I try to do it that way. And a trill then is performed differently everytime you program it.

    Same with runs.

    Evan Evans
  • E
    E
    last edited
    last edited

    @James McWilliams said:

    Could you elaborate a little on this for me? [:D] Do you you mean I should add more instruments to the orchestration?
    James
    Well first of all it depends on your experience with orchestration. I mean is this an intentional artistic step down from the levels of orchestrational technique you have under your belt? Because if it is, it works just the way it is.

    However, if your intent was to achieve MORE than what is happening than the answer may lie in further expanded and richer orchestration.

    You see ... "knowledge is power"- (Miles Davis)

    For instance, I CAN write/orchestrate in less optimal levels of orchestration to achieve the desired effect/intention (ie: stark loneliness by way of obtusely desperate woodwinds which could never blend).

    Part of musical communication is CLARITY OF INTENT. This is the only way you can ensure that the listener can, as best as possible, achieve the resultant experience you intended. If you are doing this in obscure and unclear ways, than a lesser degree of your audience will comprehend your original intentions. In situations of small audiences (1 to 10 persons), it may be a total miss at certain points.

    So I need to know WHAT WAS YOUR INTENTION at all points in the composition?

    In film scoring it is much more obvious especially with the more generic films. That's why orchestrators can be hired, because without instruction they "know the intention" (ie: aggressive chase scene demands heart pumping levels of orchestration).

    Evan Evans
  • M
    M
    Hey, it sounds great! Very enjoyable music!
    I agree with Bill about the desire for a longer form and with Evan about the relative dryness of the percussion. And I agree about the impression of realistism from beginning to end mentioned by Audun. Did I forget somebody? [:D]
  • J
    J
    last edited
    last edited

    @James McWilliams said:

    Could you elaborate a little on this for me? [[[:D]]] Do you you mean I should add more instruments to the orchestration?
    James
    Well first of all it depends on your experience with orchestration. I mean is this an intentional artistic step down from the levels of orchestrational technique you have under your belt? Because if it is, it works just the way it is.

    However, if your intent was to achieve MORE than what is happening than the answer may lie in further expanded and richer orchestration.

    You see ... "knowledge is power"- (Miles Davis)

    For instance, I CAN write/orchestrate in less optimal levels of orchestration to achieve the desired effect/intention (ie: stark loneliness by way of obtusely desperate woodwinds which could never blend).

    Part of musical communication is CLARITY OF INTENT. This is the only way you can ensure that the listener can, as best as possible, achieve the resultant experience you intended. If you are doing this in obscure and unclear ways, than a lesser degree of your audience will comprehend your original intentions. In situations of small audiences (1 to 10 persons), it may be a total miss at certain points.

    So I need to know WHAT WAS YOUR INTENTION at all points in the composition?

    In film scoring it is much more obvious especially with the more generic films. That's why orchestrators can be hired, because without instruction they "know the intention" (ie: aggressive chase scene demands heart pumping levels of orchestration).

    Evan Evans

    Well, I was picturing a cold lonely flight. Ice on the cockpit, purring propeller, Rolling clouds below, almost like a dream. I did actually toy with adding more orchestration, but I just ended up taking it out again.

    My experience with orchestration is not academic unfortunatly, I have no music training (cannot read music either) so I'm learning by doing. I recently got hold of some books on theory though, i'm going to try and learn notation so that I can actually understand what the hell rimsky-Korsakov is harping on about in his book [[[:D]]]

    When you say 'blending' I assume that you mean using all intruments in a way that compliment each other so completely that the sounds merge so that the individual intruments are hard to pick out?

    -------

    Thanks Mathis [[[:D]]]
  • E
    E
    last edited
    last edited

    @Another User said:

    When you say 'blending' I assume that you mean using all intruments in a way that compliment each other so completely that the sounds merge so that the individual intruments are hard to pick out?
    I couldn't have said it better. YES. That is what I/we mean by blending. Of course more expereienced listeners still can pick out what the "blend" is, but that's a very small percentage of listeneres/musicians. For instance flute, solo horn, violins, is a popular blend that can be recognized because of it's very different ranges of blending. A harder blend (one that blends more) is low flute, clarinet, solo horn, violas.

    As far as adding more orchestration, it's more of a producing thing. Has to do with intended audience as well. Even the simplist passages in today's film scores need to be rich in orchestration to not sound cheap (low budget). Think about adding "padding" layers. A padding layer is usually a holding chord or hamronic structure ... but, most keen ears quickly show disdain for these "pads", so rather, do what I like to call "living pads". These would be static sounding musically orchestrated structures dense with flowing notes. A great simple example is a wind chime. Those many little metal pipes hitting each other. It's a static unchanging structure of a sound, but of course there are many little micro metal clanks going on. Tremelo or fingered tremelo strings with tremelo woodwinds would be another. Finding them, and even creating them, is part of the art of orchestration. Making them work and best convey your artistic intent is part of the science of orchestration.

    Evan Evans
  • PaulP Paul moved this topic from Orchestration & Composition on