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  4. Pierlala Again...

  • Pierlala Again...

    J
    J
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    Hi everybody,

    Today I have finished a new mix and master of my recent composition Pierlala Again. You can find more about it in the earlier post.

    Here is the neww version:

    Pierlala Again, Tribute to a free mind

    All comments wellcome.

    Max
  • W
    W

    This does sound like a good improvement.  It is a really fine composition and should be performed !
  • J
    J

    Thanks William,

    It took quite a while to do a number of small corrections, but mainly to reach an acceptible performance with enough contrast and transparancy. I must say that this version pleases me most. Of course there's room for improvement, but as we say: "Rome and Paris were not built in one day"...

    Pierlala Again was in many ways a learning traject with trial and error, sometimes big fun, sometimes very tedious and annoying. I've combined articulations, used AltiVerb for the first time, did an orchestration with VE pro within Studio One for the first time (which caused a lot of trouble to insert automation busses)... The composition as such was ready in a couple of weeks, the mockup took me nearly 3 months. I'm happy with the result and I'm glad I can put it at rest now. I assume you know the feeling.

    Thank you,

    Max
  • AcclarionA
    AcclarionA

    Very enjoyable, Max.  Bravo for fine music, and a sonically pleasing rendering!  Your experiences with regard to the composition vs. production time are spot on, and still my own personal biggest nemesis, as I struggle to imagine how I'll ever be able to produce/render every composition.

    Dave

    p.s.  I must ask:  having seen your post on another forum re. Pierlala, I noticed your name on that forum is "Jos Whylin"...you've always been "Max" to me :)
  • J
    J

    Thank you Dave.

    p.s.  I must ask:  having seen your post on another forum re. Pierlala, I noticed your name on that forum is "Jos Whylin"...you've always been "Max" to me :)

    Well actually, Max Hamburg is my 'alter ego'. When I was young, I wrote poetry with that nickname. And sometimes I keep using it. My real name is WYLIN (without h).

    And I must say that I particularly liked the open sound of your latest piece (here on the forum). What venue did you use (or which reverb plugin)? It's amazingly clear without overdoing it. Too much reverb becomes muddy very fast...

    Max (Jos)
  • AcclarionA
    AcclarionA
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    For Dance of the Devilish Demons, we used Teldex, with the Stereo Mir Pro Default mic. Most instruments using mirx settings, with the Miracle on classical hall. Becky has created a bunch of pre-sets for each instrument (EQ, placement on stage, etc.) which she starts as a base point and then tweaks accordingly. There are also non-VSL instruments in this piece blending with the VSL strings.

    Dave

    www.soundcloud.com/carovillano
  • J
    J

    Thank you for the information. Becky did a wonderful job!

    Max
  • G
    G

    That was a real joy to listen to. Charming piece. I didn't get borred through out the 11 min which is not an easy task, perhaps the images helped, I'd have to listen without the montage. You didn't over do it either, it's coherent and that helped with the flow. The sound is nice too. Nice work!
  • J
    J

    Thanks Guy for your encouraging words and for having taken the time to listen.

    Jos
  • G
    G
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    @Jos Wylin said:

    Thanks Guy for your encouraging words and for having taken the time to listen.

    Jos

    You're wlecome. Since the orchestration and realization is great, you could go one step further to improve the sound. First, it is a bit too much "in your face". Since you have MIR Pro, I suggest you use that instead of VVS2.  It would create a more credible sound space and sense of depth.  It would even sound better if you just ran it through Altiverb!

    All you really need do is create a sense of depth and ambience for one single instrument, and then place all of the others accordingly.
  • J
    J

    Thanks a lot, Guy for the tip and advice. Indeed, my way of setting up the depth and  ambience was always every instrument (group) at once. So difficult to hear what's the best solution. And the human ear is so quickly used to sound that the slight difference become obsolete or inaudible.

    (Forgot to mention that I always work with VE Pro.)

    I'll will give it a try for sure!

    Jos
  • PaulP Paul moved this topic from Orchestration & Composition on