This piece combines synchron strings in a fuller orchestral context. Hope you enjoy.
I'm updating the mix, and with the addition of the 2nd violins.
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Capricious Waltz (updated mix with 2nd violins)
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Hi Guy,
What a walz full of surprises and unexpected 'turns'. The very playful dealing with the 3/4-rhythm is top class and explains the title, just like the broken thematic lines. If this was meant to dance to, it would certainly require super trained professionals to create and perform some sort of walz choreography to it.
And not only the composition is fabulous, the recording and the tidy, clear ambience honour all the solo and group instruments. This could be a multi instrument demo to prove the versatility and beauty of the VSL libraries. For the first time you convinced me of the special nature of the synchron strings in magical ensemble with the non-synchron instruments.In one word: superb!
Jos
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Hi Guy,
What a walz full of surprises and unexpected 'turns'. The very playful dealing with the 3/4-rhythm is top class and explains the title, just like the broken thematic lines. If this was meant to dance to, it would certainly require super trained professionals to create and perform some sort of walz choreography to it.
And not only the composition is fabulous, the recording and the tidy, clear ambience honour all the solo and group instruments. This could be a multi instrument demo to prove the versatility and beauty of the VSL libraries. For the first time you convinced me of the special nature of the synchron strings in magical ensemble with the non-synchron instruments.In one word: superb!
Jos
Oh wow, thank you Jos!
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Hi Guy,
Just some more information abut the Waltz. Did you use the Synchron Stages reverb for the other (non-Synchron instruments)? I have the impression that the used ambience is brighter than the normal Synchron ambience. (EQing of the tail?...)
I would appreciatea lot some more explanation.
Thanks,
Jos
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Hello Guy,
Well wow! Really great composition. I agree that the playfulness with the rythms is particularly wonderful. Really awesome work. I think you have a little quirkiness hidden inside you. Every time you do a character piece it really shines. This one is no exception.
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Thanks guys!
Hi Guy,
Just some more information abut the Waltz. Did you use the Synchron Stages reverb for the other (non-Synchron instruments)? I have the impression that the used ambience is brighter than the normal Synchron ambience. (EQing of the tail?...)
I would appreciatea lot some more explanation.
Thanks,
Jos
As far the EQ, the mix I had originally posted was too bright, there was some slight EQ in my template which I ignored, and ended up being too bright for the violins playing in the high end. In the re-mix, I added a 2nd EQ to tame each string section and remove any harshness, especially due to the strong attacks and high velocities. But I think the bright effect can be due to the higher velocities especially in the 2nd half.
As far as the tail, sometimes the long notes ended to abuptly so I increaed the "release" for them.
Paul, for sure the kid inside me...
Agitato, no doubt La Valse was a definive influece and one of my all time favorite pieces and orchestration work.
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Just for the fun of it, I'm posting the original piano version.
Thank you Guy. In some ways, that was even more impressive. I am amazed that you could get your fingers to play the capricious rythms! And the harmonies do come through more clearly. You are a very gifted musician.
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Thanks a lot Guy, for the clarification.
Agitato: Its a previlege to share a forum with composers like Guy, Errikos, and William. Why should I care about Zimmer?!
I've tried to that bring up a couple of times. Not that these film music discussions aren't interesting, far from that, but is this the right place? It could be another topic. Here we like to deal with compositions (our own) and orchestrations and instruments, not plagiarism or thievery or whatever other composers might be doing... Here we have great VSL-composers and we are thankful that we can enjoy and learn from their masterful creations since they are willing to share their compositions and demos with us. It's been very quiet here lately and it looks like everybody is scared to post a comment, advice, hint, encouragement... leaving preferences and personal tastes aside. Or is it yet indeference?
I hope that this section will eventually come back to its original goals for the benefit of all these members being creative with these beautiful Vienna virtual instruments!
Jos
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What an enjoyable compositional output!
I feel a "live recording" touch in the overall sonics, more as if a microphone was capturing the performance than mixing desk positioning. It really adds some aural vintage flavour to it.
And then there's a bit of harshness in some high strings passages…
VI Special Edition 1-3, Reaper, MuseScore 3, Notion 3 (collecting dust), vst flotsam and jetsam -
What an enjoyable compositional output!
I feel a "live recording" touch in the overall sonics, more as if a microphone was capturing the performance than mixing desk positioning. It really adds some aural vintage flavour to it.
And then there's a bit of harshness in some high strings passages…
Thanks Fabio!
In the latest mix the violins have been brought down a bit, but I'd be curious about those harsh passages you hear if you could give me the time of them. Refer to the recent mix, same link. Thanks.
ps Just a reminder, the demo was done without legato patches for 2nd violins and violas. I imagine we'll see them soon, or one of the 2, and I could update it once more for the legato passages.
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but I'd be curious about those harsh passages you hear if you could give me the time of them
Sorry, Guy, my fault. Superficial listening.
VI Special Edition 1-3, Reaper, MuseScore 3, Notion 3 (collecting dust), vst flotsam and jetsam -
Hi Guy,
to begin with: a nice project!
I heared it on 2 equipments. First on my computer and then on my stereo equipment in my sitting room with my smartphone as source (so not a very precise and good DAC, but listening to sampled music less precise is sometimes a benefit) coupled with a cable.
My first impression on the computer:
in the remix the woodwinds sound much better, while in the first mix they sound already good.
The sound of the strings in the remix is in my ears a little sterile.Then I moved to the stereoset in my sitting room.
First the remix: The strings didn't have the sterile touch here but sound good, woodwinds again beautifull.
After that I moved to the first mix. I noticed a remarkable change in myself. I was moved by the music, tended to make conducting moves with my arms, the music came in. It is less precise, less analytic but the overal sound is very touching, the music took me.
To resume: the remix touched my analytic brains, the first touched my heart....
But in both cases: all on a very high level...
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Hi Guy,
to begin with: a nice project!
I heared it on 2 equipments. First on my computer and then on my stereo equipment in my sitting room with my smartphone as source (so not a very precise and good DAC, but listening to sampled music less precise is sometimes a benefit) coupled with a cable.
My first impression on the computer:
in the remix the woodwinds sound much better, while in the first mix they sound already good.
The sound of the strings in the remix is in my ears a little sterile.Then I moved to the stereoset in my sitting room.
First the remix: The strings didn't have the sterile touch here but sound good, woodwinds again beautifull.
After that I moved to the first mix. I noticed a remarkable change in myself. I was moved by the music, tended to make conducting moves with my arms, the music came in. It is less precise, less analytic but the overal sound is very touching, the music took me.
To resume: the remix touched my analytic brains, the first touched my heart....
But in both cases: all on a very high level...
Good comments, thanks MMKA!
I think I overdid it with the EQ and took some of the meat away, so I reduced the EQ I had done, a better compromise, new mix with same link.
