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I know I've put this up before, but I would really like to know what you think of it now. I really have gone to town on it, both production and composition wise after reading all the comments made on several sites about it's first incarnation.

I hope you enjoy it

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Thanks Michael. I agree it needs better samples (or players would be a nice thing), but Jan's right about the way I've treated the samples that I already have. I'm going to give it another overhaul, but before I do, can you tell me what you mean by "you could use some compressor/limiter over it" in really easy terms for me to understand. I'm asking because I've heard your work and I was really impressed.
I think I know what you mean now. I've been reading the instructions of Miroslav and HALion and they both claim that the instrument(s)/sections were recorded in place as if performing in an orchestra.

So, I could wipe all the instruments except the strings, save it to its own file and reset them to their own default pan setting, THEN set the reverb as if they are the nearest instruments to the conductor (which they are).

Then do the same with the woodwind, but push them a bit further away, and then the same for brass (a bit further) and finally percussion (at the back).

Then import all these files AS audio files (isn't that what you meant by bouncing?) and set reverb at a genuine (CPU hungry) room setting, That should do the trick.

Whaddya reckon?
Hmmmm. I've been trying to follow this discussion between you and Jan. I can only comment on what I hear (because my production skills and knowledge are still minimal). Anyway, when I just listened to the Fourth Movement I loved it mostly (musically more than production-wise) but kept wondering where the middle was (I hear mostly highs and lows). I thought this was a matter of instrumentation but maybe it's a production issue.
Thank you. I am using Izotope Ozone 3 (they have 4 now). It is great mastering tool. Even a newbie can use it effectively with multiple presets there. There is EQ, mastering reverb, harmonic exciter, multiband dynamics, etc. also - there is the Loudness Maximizer. Here are it's features along with the LM -
Also, if you want to read something about compressors, etc. you can read great amount of information here:

Ok thanks Roger. I was hoping no-one would notice that I was using rock
Thanks Michal, I'll take a look.
i really liked the work. i listened to it a couple of times. mostly half way to end is very interesting orchestration. I'll have to absolutely agree with the comment of finding a real orchestra to play this, the production is not doing it justice. Good effort simon!
Simon: Although I'm not a production whiz (yet ; ) I've been collecting articles about production terms and basics. I saw that you had some questions about compressors, limiters, etc. Here are a couple sites that might interest you:
I will only echo the other folks who have said this - "Get live people to play this." This has something special about it.

BTW - Do you know the name Howard Hanson?

You music has some of the character of this fellow's music...

Hanson was also a conductor, and a friend of mine's father palyed horn under him....
Thanks Deborah, I really appreciate your help. It's very kind of you.

I have actually opened a new discussion with an improved production, I think.
"I will only echo the other folks who have said this - "Get live people to play this." This has something special about it".

If only.....

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