Stefan,
My my, what an interesting reply you've written.
I'm not sure about this quote stuff, so i'll cut and paste your quotes, and ask you to be a little patient. (I still use a 'Quill', ink, and parchment to set out a score. Call me old fashioned.)
"Inf act what I hear these days in movies or other soundtracks (Did I mention Cirque de Soleil in Las Vegas with 160 Channel setup?) that needs this big sound."
So, you've pointed clearly in the direction of EW in relation to your compositions and your perception of what is the 'sound' of today's film and soundtrack direction.
That's as it should be, with personal preference the key factor in deciding what you want, and importantly what you want to use it for. It's obvious from the enthusiasm in your reply that a 'big sound' is one you aspire to, and EW rocks your boat. It's your choice.
It's my choice however to choose if i agree or not.
That big sound versus the European 'dry' sounds to me a little single focused. Each example you gave related to that big boom boom sound, with an almost derisory afterthought to our poor little Euro dry. And with that big booming sound of yours, much can be forgiven musically, little flaws and sometimes big ones, skillfully overwhelmed by the ringing waves of bash, bang, wallop, and endless choirs who can only hum because they've forgotten the words. It's a terrific way to hide the mistakes, and many a composer, good and bad, in the past and present, has succumbed to the temptation of noise over musicianship.
Stefan, I've played in orchestras, and sat in the audience listening on more occasions than i can remember, often as student armed with a compact score, listening to the real sounds, and countersounds, trying to understand what's happening.
And the big sounds I have as that singular definition, include Beethoven's 9th (Choral symphony), Wagner's, well, pick one, Rimsky korsakov, (who wrote a book that has become a bible for many). Did these works originate from a pre processed 'Big Sound'?
No.
They used a technique that has stood the test of time against all comers.
'I agree that 'dry" recordered instruments makes it easier to create precise compositions. However, most of the times my results with the "big sound" is much more accurate to a real orchestra and I get a much quicker good result.'
See above for why a dry sound HAS to sound superb, BEFORE any effects are applied, not the other way around.
"The interesting aspect is that film music in Europe is so much more "dry" than it is on all the big Hollywood producttions. I believe that Vienne is working on the reverb to compensate that."
I find this one a trifle arrogant. You're saying that the VSL team are actually trying to lower their exacting standards to get that big hollywood sound that you're so fond of? As if it is the Holy Grail of Sampler Technology?
(See the MIR project page for details about the finesse of spacial awareness and the perfective determination required to achieve it.)
The reverse is true. Many of the early and present sample packages used a false reverb and 'ringing sound' to try and HIDE the fact they were (and in some cases still are) sub standard.
Stefan, the big sound obviously suits you, and puts you in a wonderful emotional state. If you're getting lots of work as you say you are with your big sound, then good luck to you. If it helps you eat, i've got no problems with that.
But don't assume all of us wish to aspire to the formulaic hollywood formula, of big and loud, with crushingly boring simple chord changes 'cos that's 'What the audiences want' (according to the demographic analyst).
Nope, the few of us left (because you stated 'maybe many others as well' early in your post) who wish to resist following the rest of the sheep and write something new and interesting, use another skill which puts the ideas first, then applies the effects, IF NEEDED.
It's called Orchestration, and of all the skills needed musically it's often the most ignored, the least understood, and the most valuable skill you can develop. Freed of the safety blanket of waves of noise, that dry sound compels one, if chasing excellence and improvement in oneself, to ever more determination and creativity in the dangerous and uncertain environment of no effects.
No 'reverbial safety net', no endless droning choirs to hide the poor choice of timbre and pitch in the woodwinds, or the 'wincing jar' of ill placed brass.
I for one don't want reverb on my samples. That's my choice. I don't want cathedral sound with a one road only attitude leading straight to Hollywood.
I like writing music, and testing myself e.g. to see how thinly i can orchestrate and still get a good balanced sound.
Bang Bang Boom, with no other option, and the exclusion of all those years of hard work, and musical determination?
No thanks.
Alex.
