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Hi,
I took advantage of my few days off to completely review my Workflow. New template centered around Synchron librairies. Here is an excerpt from SPACE 1999 (first episode - Breakaway) made with:
- Elite Strings
- Synchronized Woodwinds
- Synchron Brass
Enjoy!
Philippe
Mon Dieu, Philippe! Thank you so much for another fabulous, dramatic rendition from Barry Gray's fine and memorable works. I love it! Epic, spectacular stuff, and beautifully done by you!
As well as luxuriating nostalgically in memories of watching Space 1999 back in the '70s, I was also very interested listening to your fine example of using Elite Strings and Sy Brass. I too have these libraries but as yet still have little idea of why, when, where and how to use them to best advantage, compared to my go-to Syz Dim Strings and Syz Dim Brass. But now I've learnt a lot more about that, thanks to this lovely rendition of yours.
Merci mille fois! Bravo Philippe!
Hi Philippe,
Brilliant as usual and a very good exercise with the Elite Strings. You found the right dose of reverb to keep everything clear and transparent. But I still have some problems with the splitting of the orchestra: the left position of the violins (1 and 2) sounds so unnatural to my ears. I don't know any classical CD with such separation. This is not your fault, but the result of the recording and placement. Maybe it can be corrected manually. I hope so, since I have purchased the Elite Strings as well (see my test piece "La Lejeune"), with the same positioning...
Good job again, thanks for sharing!
Jos
Thanks Macker and Jos for your kind comments.
@Jos : The position of the instruments is a very interesting subject which can give rise to interminable debates ... The real problem is that there is no hard and fast rules (except that the first violins are always on the left). Afterwards, it depends on the size of the orchestra, the repertoire, the venue, the conductor's personal tastes, etc, etc ... Pinnock, for example, has made a lot of recordings with the first and second violins in left. This is personnally what is use, so it does not shock me too much, but i fully understand that we may want another configuration. Regarding the underlying reasons whiwh led to the choice of this orchestral configuration for the recording of the Synchron series, I think that Paul Kopf would be better able to answer this interesting question.
Very best.
Phil
Hi Philippe,
It's not so much the position of the violin groups, but rather the harsh separation from the entire orchestral ensemble as to left-right positioning. Since the violins 1 and 2 are left orientated, the entire violin group comes almost exclusively from the left. That is what I meant. In a 'real world' orchestral setting, even with that position, they sound through the full orchestra (left most, mid somewhat less and right rather weak but still present). That is not what I hear with the prerecorded positions, they sounds as if they are exclusively left. Their sonic quality is fine, but the positioning has room for improvement (such as the choice for left or right for the 2d violins, and the horizontal balance like it was with the Power Pan). Consequently the same for the violas and the cellos (and basses).
P Paul moved this topic from Orchestration & Composition on
