Music Composers Unite!
thanks for the comment.
sure! here's the piano sketch: http://www.box.net/shared/pn5sb75i9i7pqjq9luhe
the sketch contains just the fast section, because i found it a bit too hard to orchestrate it without preparation and it was so much easier to flesh out the initial ideas on a smaller scale.
i also have a version of the beginning with just the strings (+the piano sketch)... if you're interested: http://www.box.net/shared/vst9m6c6dsnuuapzlhql
La Scoring Strings, Cine Brass, Hollywood Winds and True Strike 1.
there might be few additional sample libraries used here and there.
I compose using a sequencer... Cakewalks Sonar 8.5 to be precise. so i don't write straight to notation so I have to notate this later on if i want to turn this into a partiture. which i do.
I started off just by doodling around with some stuff i came up with earlier. I ended up with this http://www.box.net/shared/7xo9upgvkcg7phmkn0e4
after that i started fleshing out the piece.
i recorded (and entered notes by hand) multiple takes of my piano playing to get the piano sketch.
after that i just recorded all the instruments one by one according to the sketch i had.
on simpler parts (where there is not that much going on) I'm usually able to just record the the stuf playing in my head correctly with out any preparation or sketching.
I hope this answers your questions.
I know its pity that most of the time notation programs cant produce a very "realistic" sounding output, but i think thats mainly because the limitations of the lack of human performance. what I mean is that, to get this level of realism, one must really perform with the virtual instruments. its not just a bunch of samples, its still an instrument. an instrument that tries to emulate another (for example a violin or a flute)
so most of the time the pure notation lacks that human performance, and that's what causes the output to be dull and mechanic.
when i started off I had a soundblaster soundcard that had the ability to load soundfonts. and using them i realized that even those (most of the time very crappy) samples can be made to sound great with the right kind of treatment. you have to record the parts one by one using mod wheel and volume automation,
I've done a lot of independent films. and I'm planning on pursuing a career in composing for film, games and media in general.
That hollywood sound has just stuck with me for some reason, but i try to vary my compositional palette at least to some degree.
I dig this piece, very theatrical. It held my 15month old twins attention, which nothing else does. That's truly impressive. When the big theme comes back in near the end, you could do some more with the xylophone and marimba...some fast runs and such to take the energy level even higher.
Henri: I've been following your stuff for over a year and I love what you're doing. This might be your best sounding piece (as well as another string piece you did) and I like the musical content a lot too. There were only one instance where I thought it sounded synthetic and that was at 1:45 for a few seconds when the staccato notes come in, but it was nothing major at all. In general I find your sequencing and sense of rhythm and progression admirable. Keep it up!
Ray: Does this mean you do not like the sound of this? You had sort of a confusing way to convey your message.
Ray Stirling said:
The most encouraging thing I can say to you is, in two or three years time you'll look back at it saying why did it not sound then like I can make it sound now. It's as simple as that, a tweak here a tweak there mixing eq, compression, space and with hard work it will all come together. Then "Three Steps From Hell" :) Have fun.
Thanks for the support!
I really appreciate it.
correct me if i'm wrong but i think ray means that this is very close to the production value of "two steps from hell"s music... just lacking in the final polish.