Annen Polka and Tritsch Tratsch Polka

[mw design]

Hi Guys, two Pieces I actual work on is Annen Polka and Tritsch Tratsch Polka. Those two I started in the early Years as I started with VSL in 2013. Now its the Time, because of gaining Knowledge to complete the Mockups

Annen Polka - VSL

Tritsch Tratsch Polka - VSL

[mw design]

Update Performance Trills on Woodwinds

Tritsch tratsch Polka 2 - VSL

[mw design]

Now Im going for the Dynamics on Tritsch Tratsch Polka, because I have all String Libraries in Standard, i cant make a Performance Trill on those, but on Woodwinds

Work in Progress - Tritsch tratsch Polka 3

[Paul McGraw]

Hi Marcus,

Sounding good so far. I like it. If I might offer one thing, you would get a clearer mix with low cut filters on every instrument to eliminate the room noise buildup.

I'm looking forward to the next installment.

Paul

[mw design]

Thank You Paul, I general use a Low Cut on Master Channel. Yes Im aware of the Noises. Its caused by non correct Volume Levels, Articulations especially in the Brass and the Snare is not correct programed.

I now have many Mockups to work on. Beethoven 6th Symphony, the Polkas, Humperdinck Hänsel und Gretel Overture, some Mozart Mockups and for the use of Bb Trumpet - Trumpet Voluntary....and ofcourse my own Pieces.....so its never boring ;)

cheers

[mw design]

Now made some EQ Adjustements, the Snare and Brass was producing lot of Noises.

Work in Progress - Tritsch Tratsch Polka Mockup 4

[mw design]

also EQ Adjustements on Annen Polka. To get the Dynamics like in a real Recording is a huge Task. I dont have any Doubt that its possible with VSL 😉

Work in Progress - Annen Polka Mockup 2

[Paul McGraw]

@mw design said:

also EQ Adjustements on Annen Polka. To get the Dynamics like in a real Recording is a huge Task. I dont have any Doubt that its possible with VSL 😉

Work in Progress - Annen Polka Mockup 2

The beginning is truly excellent. As more instruments come in, the room sound starts to build up. However, I should not keep harping on that. It sounds good. And you are making steady improvements.

Paul

[mw design]

Thank You Paul, One big Challenge I see is to get a full Stringsound. I basicly use Dimension Strings on Top in every Piece. Somehow I miss the Edge in Cello and low Register of Viola.

So this is a Question I have almost for a Year now. maybe a good layering with Brass or Woodwinds to get the Edge in the mid low Register or Compression ?

[Paul McGraw]

@mw design said:

Thank You Paul, One big Challenge I see is to get a full Stringsound. I basicly use Dimension Strings on Top in every Piece. Somehow I miss the Edge in Cello and low Register of Viola.

So this is a Question I have almost for a Year now. maybe a good layering with Brass or Woodwinds to get the Edge in the mid low Register or Compression ?

I'm sure there are multiple alternatives. I am still learning, so perhaps what I am doing is not the best way. For me, I find that using multiple libraries is the answer. Synchron Strings can have a lot of edge, but I do not like them alone. I layer them with VSL orchestral strings AND VSL chamber strings. I am working on a midi performance of the Dvoark 9th. In this case I also added Spitfire Symphonic Strings. Here is a bit of that.

Dvorak 9th

[mw design]

a good Mockup you have here, clean in Sound w2ith alot of Potential, i still miss the Edge in the Cellos. This often can be heard on basic sustain Notes. It sounds very deep. I dont have the correct Words, but I think you know what I mean.

[Jos Wylin]

Hi Markus,

I listened to borth your examples, with their improvements. Great that you continuously question yourself and try to realise better performances. So I can only cheer for that attitude. That's exactly the way we all had/have to walk. And after 5 years, I still have a lot to learn.

So I like your attempts. Paul is right about the building up of the room sound. EQ'ing won't solve the problem alone. A good setting will be necessary (not per definition the traditional orchestra seating), so that you make room for every single instrument/group to sound freely (panning, EQ'ing, volume balances per channel, ER and ER delay, releases per instrument/group...). All these elements can pile up and build an amount of unwanted sound, together with the usual reverb in the master. Compression won't change much. I only use it to correct balance details, so very modestly.

You could start balancing with the middle sections (violin II, violas, clarinets...) and go downword to the lowest instruments. When all these are in balance, you could start bringing in the higher instruments (violins I, flutes, oboe...) and set their correct volume.

A good advice: don't mix the note and articulation input with the acoustic matters (depth, panning, reverb). These are two separate things which you should keep apart. Let alone the mastering!

I hope that will help you a bit further.

Keep up the good spirit!

Jos

[mw design]

Thank You Jos, Yes thats the Idea. A VSL User is in the Situation have one of the best Library, but it also needs alot of Attention and Mixing Skills. To me Its not easy to mix 2 or 3 Flutes and Piccolo, I see this here on the Polkas but also on other Mockups.

I use only MIRx Konzerthaus  (and Im happy for this One Slider Solution). Its sound better than what I tried with Vienna Suite Hybrid Reverb, but ofcourse this has Potential too

I now often mix in Mono. The Idea is when all Instruments stacked on each other I hear which Instrument is too loud in Relation to another Instrument.

I often use the Highest Instrument a Flute and Bass , this is my Reference Point to mix the other Instruments in. But this Reference Point also change when different instruments play the Lead Melody.

greets