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Any comments on this composition/recording? This is my 32nd symphonic movement
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I'm quite impressed by the length and amount of music you've got going on here. The staccato strings sound great (I never got tired of them), and the soaring violin entrances were very effective. The mixing is also very nice, (I keep having trouble giving good reverb to my piece without washing out the whole orchestra).
The only possible critique I might have is that I generally prefer more thematic focus in my symphonic-style music. That said, you change styles often enough that it never really bothered me while I was listening.
Altogether great stuff!
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Hi Jerry,
I didn't have the time to listen to the whole piece, but what I heard was quite impressive. Congratulations!
One technical issue that concerns the whole mix: You exaggerated overall the stereo-width quite a bit. My Gonimeter shows "out-of-phase" almost all the time. That's much like listening to an orchestra with you back turned towards the stage. :-) ... but this should be easy to fix.
All the best,
/Dietz - Vienna Symphonic Library -
Hi Dietz,
Yes, I noticed that while mastering it in Ozone 5. When I listen to it on my monitors (Adam S3a) it sounds the way I want it and when I reduce the stereo expansion I get rid of only some of the out-of-phase indicator but not all of it, and also it doesn't sound as full as I want it. I am not concerned about how it sounds in mono (other than AM radio, does anybody actually listen in mono anymore?)
When I "do it by the book" and set my stereo expander settings so that there's no red line tracing (which in Ozone means out of phase) I don't get the stereo width that I want. Hmm, not sure how to fix this. I've listened to it on numerous playback systems and am satisfied, but I know what you mean, the out-of-phase meters bug me too. You've got good ears that you heard that!
Best,
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The meter is not the problem. :-) .... it _sounds_ as if the music is partly coming from the rear of the hall (and that's the point when I look at the meter to see if I'm hallucinating ;-) ...) For me, that kind of ultra-broad stereo width means actually less "fullness", not more.
Kind regards,
/Dietz - Vienna Symphonic Library -
Hi Dietz,
I wish I could hear what you're hearing. I'm listening over a pair of Adam S3a's, coming through a Yamaha DM2000 digital board--a pristine signal path to say the least, some of the finest gear on the market for near field monitoring and digital mixing. I certainly don't hear what you're hearing. When I bypass the stereo expander completely it sounds OK, but not nearly as spacious and transparent as when I put it back in the signal chain.
I do appreciate you taking the time to comment.
Best,
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Hi Jerry,
congratulations on your 32nd movement! I enjoyed this and look forward to the remaining movements being realised. I just bought and listened to your 3rd symphony to try and get my head into your style of writing/music. I thoroughly enjoyed the experience and I have to admit I was a little apprehensive at first as to what was going to happen sonically after hearing some of your previous works which didn't grab me as much as they seem to now. Maybe I was in the wrong headspace to listen objectively?
Anyhow, I think the 1st movement sounds great and look forward to hearing the finished symphony.
Regards,
Tom
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Great composition and a wonderful bright mix.
1. Can you tell me what articulation you used for Divisi Violins 2 and Divisi Violas. I tried to replicate it in my notation software but the articulation staccato gave a total different sound.
2. Did you use MIR?
Kind regards Frieda
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Hi Frieda,
I used many articulations. In this movement I used two complete string sections, the orchestral strings and the chamber strings. The chamber strings handled all of the divisi parts. I think I used (I am not at my DAW right now) the short & long notes for the underlying rhythmic momentum you are referring to in vlns 2 and vlas, either the shortest staccatos or the ones slightly longer than the shortest. Of course it is the MIDI programming of strong and weak beats which defines the articulation as much as the sample-set.
No, I don't use MIR, I use an outboard Yamaha SPX2000 reverb.
Best,
Jerry
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P Paul moved this topic from Orchestration & Composition on
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