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Beyond the Thicket

My latest composition, written for strings, choir, celesta and Ocarina.

Regards,

Saul

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This is very well written. The melodies are strong and the harmony and orchestration work very well.  It is contemplative, even elegiac in an extended form and while I understand that I would like to hear some more ebb and flow, possibly dynamics or textural changes to draw me into it more.

Thank you Ingo,

There is so much more that I would like to express in this piece, the limitation due to the sound quality, midi, the human element etc, is staggering once you realize the potential of what could be done with it. 

Thanks Again for listening and commenting.

Best Wishes

Saul,

Nice work on this.

I believe there are a few variables that would greatly improve this mix to bring out these good ideas better. One trick I use if the vocals don't sound entirely human is I bury them under other parts or make them come in at places where inflection isn't necessary. The most simple thing to do is keep the levels lower and add some space. This usually helps to blend these kinds of patches better.You can use midi velocity  to give dynamics to the parts. You can "paint" the midi velocity in most programs.

Most DAWS also allow the use of track volume automation which is really just a fancy way of saying it lets you vary the volume up and down using the track fader control, then records those actions. Track automation can control volume, panning, reverb and a bunch of other stuff.Some DAWS let you group tracks so that changes are across the tracks in the group.

I think the whole thing could use a bit more space in the way of reverb. Too much though and everything sounds washed out.Reverb is a touchy thing and different people see it differently. Probably more important is the type of reverb. Even a little too much use of a  cathedral reverb setting is likely to make the mix too wet. A small hall reverb might fit better since it isn't so dense and you can use more of it. Some reverbs allow you to adjust density and early returns, delay etc. This is especially useful in getting something that both fits the space and sounds like a real place. I try to stay away from generic reverb settings. Some songs require the use of more than one reverb type per track.

Thank you Timothy,

The way it is now is really very low quality. First thing first I need to get a decent Sound library that comes as close as possible to the original instruments to give it an authentic sound quality.

Saul, what version of Sibelius do you have?

Hi Bob, I have switched to Finale for some time, I don't have Sibelius at the moment.

Why you're asking?

I didn't realize you had switched. You mentioned Sibelius in your other thread.

Yes, I still have it but it has bugs and is not workable for my Mac High Sierra version. It crashes and prints out the scores with errors. The finale is way more Mac friendly so I use that for now.

As I understand it. Sibelius has always been slightly iffy on a mac. I see that the oldest supported version for your OS is 8.7. That doesn't always mean anything. My 7.5.1 isn't supported on windows 10, but it works anyway. You do restart your mac every day?

The thing that I notice about your piece is that there is a lot of melody doubling. In a piece with so few instruments you might use them to vary texture. Arrange the accompaniment in such a way that the melody is supported so you don'r have to double up.

Bob, it Sibelius simply does not work on my Mac.I have tried everything to make it work, but it crashes. Finale is more Mac friendly, so I use that for now.

I get it. You have to use what works.

I do like your piece. The melodies are very nice. 

Thank you Bob,

I deleted the piece for now as I really dont like the sound quality.

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