@Leon Willett said:

[[:D]] Okay, okay.... er... how about unison with violas? But you'd still need lift from somewhere. Jurassic parc has unison with violas, bassoons and glock, which is a lovely sound--and you really only hear the horns, it doesn't get mushy. Ah, what the hell. I have a friend in Carmel who I'll be visiting next summer, and then I'll beat it out of you [[:D]] lol

Deal.

[:)]

Evan Evans

P.S. I mentioned the Violas above. it is almost there. This is not so obvious. It's quite a technique and a special trick.

There are no "tricks."

"Tricks" are for fools and prostitutes.

There is only good writing, or bad writing.

Thanks, Ackerdemiker, for those comments. As I already mentioned, the first version was mixed to be played in a church: that's why it is so dry. The second version is for listening at home or in the studio.

I think I understand your point about adding a fp< crescendo to the longer notes of the "fanfare" passages. Unfortunately, that is one articulation I find lacking in VSL. There are fp, sfz, sffz, and also crescendos of various lengths, but no crescendo notes beginning with a sharp attack. To create this kind of effect you have to layer two articulations together: a staccato or sfz note to give the attack, and a crescendo for the swell. I tried to do this in the trumpet melody at 01:07 and 02:38, but I did not succeed in getting exactly the sound I really wanted. It is probably possible to obtain a good effect by layering, but it would be much easier if VSL had recorded some samples of brass instruments playing fp< (like in Dan Dean's Solo Brass library which I also have).

@William said:

"Tricks" are for fools and prostitutes.

What do you think film composers are?

[;)]

Evan Evans

@William said:

There are no "tricks."

"Tricks" are for fools and prostitutes.

There is only good writing, or bad writing.

William... I don´t share your opinion about prostitutes... or was it about composers? *smile*
Good writing - bad writing ... BIG WORDS ... it´s said simple but perhaps you can tell me a little bit more of the facts which are making you able to decide if it was bad or good...

A.

Good writing is ... ... .... ... ? ..... ... ?....... .. ...?
..... : when you don´t use tricks. .... .. ........ .. .... [[:|]]




[:D] [:D] [:D] [:D] [:D] [:D] [:D]

@mathis said:

Good writing is ... ... .... ... ? ..... ... ?....... .. ...?
..... : when you don´t use tricks. .... .. ........ .. ....

oh, thank you very much... NOW I understand... [:O]) Now I´ll be able to become a really good composer... I have got the secret... ThankU [:P]

Are these guys mocking you William?
If so, I wish I understood so I COULD JOIN EM! [6]

[;)]

Evan Evans

in my opinion the "trick" is in "good writing"...!!!

[:D]

Now you´re talking!

...

I have no formula or tricks for making something sound good and don't like people pretending they do. It is knowledge, skill, inspiration which are difficult to come by - no magic formula or "secret" tricks. If you want to argue with that, go ahead.

@William said:

I have no formula or tricks for making something sound good and don't like people pretending they do. It is knowledge, skill, inspiration which are difficult to come by - no magic formula or "secret" tricks. If you want to argue with that, go ahead.

I 99% agree with you on this. However, I must admit that I have used what I consider to be tricks when preparing reduced orchestrations of the standard ballet repertoire. Some of what I do is not strictly speaking real orchestration, but I am faking a sound that really needs more instruments. For example if there is only one flute available, then I need a fake to give the impression of 2 flutes and a piccolo. I consider my soloution to be a trick, simply because it is not the correct way to do it.

DG

New version up:

http://www.buist.org/david/WeddingOverturefullGS3mod3.mp3

Comments welcome!

Enjoyed listening to the latest mix -- having just gotten sound and internet together on one computer again, finally. This may be your intention, but there are a lot of orchestrational effects piled on in a short time, appropriate maybe for an apotheosis after 20 minutes or so, but (for me) not in a single short piece. But they are all used well, and that might be your goal, so it works well.

If you wanted to tame things down some, then it might be worth identifying just what is the central music, beyond "whooshhhh bum bum de dum" (joking here) -- and presenting it more clearly.

Thanks for listening and commenting, Gugliel. My earlier version was criticized for not being "thick" enough. Are you suggesting that I have "overdone" it now? Or is your comment directed more at the melodic/harmonic/rhythmic content than at the orchestration?

Actually the whole piece is intended as an "apotheosis" of sorts. It is meant to be played at the end of the marriage ceremony to accompany the newly weds exit from the church.

I don't think you overdid it at all. Nice piece. My only criticism is try to make things a little less perfectly synced - like the octave strings and in general the attacks on full chords played by the trumpets - because occasionally that makes it sound more electronic and keyboardish. But overall it has a very bright and festive sound, just right for wedding music.

Of course, not for Mathis's wedding. He would pick something by Penderecki to establish a joyous atonal atmosphere. Or maybe do a time-stretched wedding march. And probably scare off his bride in the process.

I wouldn´t know though how to scare my bride even more than I do already...

Let me throw in my 2 cents (that's all it's worth).

These discussions would go great at the 'Faculty House' - the idea that everything is all about 'good writing' is absolutely true. However, most of you guys (me included) are not writing for a 'real' orchestra. That's why you term what you do as 'mock-ups'. Great writing also applies to what you do using virtual instruments. All the tricks you can use to 'fool' the ear are valid as long as the final product sounds 'real' to the listener. I don't get the point of the argument.

If a legato sample is not long enough you pull every trick from every technical corner to make it sound as if it is. Just look at the threads in the VSL forum - it's all about tricks. Even Evan Evans uses tricks which he keeps close to his vest - his stuff sounds great - so what?! 'Nuff said.

drg, to what or whom are you referring? I don´t get you.