# Some Luca's new orchestral stuff



## lux (Nov 1, 2008)

after a while i'm back to some orchestral music, 

The Escape Affair (rev1)

Thanks
Luca


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## JohnG (Nov 1, 2008)

dove basso?

Hi Luca,

I enjoyed this piece very much. Imaginative, playful, serious -- all at once.

I think you need more bass. Suggest tuba on the beginning section and just regular contrabass on the latter parts. It feels like it's floating up in the air without the grounding it needs.

I'm not suggesting some kind of massive punch, just more "down there."


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## Niah (Nov 1, 2008)

Hey Luca,

The only problem I have with this piece is with the high violin phrase that you hear throughout the track. It's really hard if not impossible to pull this kind of string movement with samples and since this is what carries the piece it's really hard to enjoy the rest. I think part of the reason is because the section is too small and too thin, my advice would be to try and beef up with a larger string patch or hire a violin player that can layer a few tracks to make it sound more convincing.

As usual I really like some of your orchestration here and the space and mix. 

My other complain of course is that you are not using evolve, omnisphere or symphobia. 

Ok just teasing you


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## Shantar (Nov 1, 2008)

I liked it for the most. Some off the brass didn´t suit my personal taste though, but the orchestration overall sounds crisp and clear. I like the double-tongue winds. 

-Chris


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## lux (Nov 1, 2008)

Thanks for the comments so far.

John, i think there's probably a problem of bass consistency more than absence, because i have bass pizzs and sustains playing during the piece, but i agree that theyre not much consistent and audible. Problem is that probably the basses i'm dealing with have some excessive resonance and i tend to keep them quiter than wanted. Thanks for pointing it out.

Tiago, thanks for the feedback, i'm not sure in this case i fully agree tho. I probably like the strings as they are now (theyre 22 violins playing octaves, so virtually 44). Probably the sound is a bit oldschoolish and i in general like the fact the arrangement concentrates on different parts at once. In general i can perfectly see how this kind of cue can find not much of simpathy those times, but it is mostly an exercise of an evening for my personal fun and based just on my taste, without any further consideration.

oh...and youre wrong mate, half the sound are played and synthetized using Symphobia sampes within Omnisphere.

Thanks Shantar for your comment.

Luca


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## Hal (Nov 1, 2008)

Niah @ Sat Nov 01 said:


> My other complain of course is that you are not using evolve, omnisphere or symphobia.



Haha i didnt know somone could compose withouut that..man u did the impossible


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## Rob (Nov 2, 2008)

molto bello, da film di qualche decade fa, che per me e' una qualita'  

ciao

Roberto


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## lux (Nov 2, 2008)

...e per me è un bel complimento, grazie Roberto 

Luca


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## careyford (Nov 14, 2008)

Luca,

I don't have much critical to say. I enjoyed the cue a lot. I like the violin line, it sounded a little static as far as the range of the dynamics on the legato theme. Overall, the sound of the orchestra is enjoyable and the piece is very charming, nice build and interesting throughout. Good work.

Richard


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## lux (Nov 14, 2008)

Thanks a lot Richard!

Luca


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## david robinson (Nov 15, 2008)

hi,
liked the end section a lot.
DR9.


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## david robinson (Nov 15, 2008)

hi again luca,

c-d-c-d-G, c-d-c-d-A. 4/4.

did you try 3/4(6/8) in the coda? cdcdG, cdcdA.

DR9.


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## lux (Nov 15, 2008)

Hey David, thanks. Yup, probably it came out more tight and 4/4 than wanted, I mostly wanted a kind of funny change at that point. 

In general there are a lot of things i would change on this piece after listening it for a while 

Thanks
Luca


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## lux (Nov 16, 2008)

Just finished a slightly revised version that takes input from the above feedbacks and a few more things.

The Escape Affair (rev1)

Thanks
Luca


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## JohnG (Nov 16, 2008)

I really enjoy that piece. I think it's much clearer, in a good way, than it was previously. 

Still has that weird combination (that I love) of sad, mournful, ironic. 

I usually put more reverb on than this (actually, a lot more reverb!) but that's a matter of taste.

Really a fun piece.


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## Niah (Nov 16, 2008)

hey luca

big improvement on that repeating string motif and everything sounds much better, more ooomph, more body, more bassy

well done o/~


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## germancomponist (Nov 16, 2008)

Hi Luca,

I really enjoy your piece! 

If I am allowed I would make one suggestion. I would experiment with the bassnotes lenghs, perhaps a little bit shorter at the 1,3,5 or perhaps only pizzbass?

Again, well done! 

Gunther


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## lux (Nov 16, 2008)

Thanks again John and Niah!

Thanks Gunther for the nice comment and suggestion.

Luca


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## re-peat (Nov 16, 2008)

Luca, yes, this is indeed an irresistible bit of music! A devilish 'danse macabre' it sounds like to me - music to go with imagery that has a high _Hieronymus Bosh_ or _James Ensor_ factor.

The first few times I listened to it, I thought there were a bit too many of those familiar E7sus4>E7 transitions (the trumpets at 0'16-0'17, at 0'30-0'32 and at 1'24), and even though I still think there could perhaps be a more suprising or unusual harmonic twist at those points, it certainly doesn't spoil the fun. 

I may be wrong, but the mix sounds a bit 'swollen' to me. Difficult to describe, but it's a bit like the sonic equivalent of how one feels after having eaten too much. Maybe the levels of all the tracks are just a bit too hot, and some processor is coping desperately to keep it all from clipping ...? Did you use some type of limiter or maximizer on this?

I also agree with the opinion that the brass - especially the trumpets - don't sound as convincing as the rest of the orchestra. Not really bad or anything, but they do break the spell a little bit.

But the music - the most important thing of course - is just great. Very, very enjoyable.
I would certainly look forward with great anticipation to the results should you decide to extend this music to a piece of more substantial length.

_


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## Craig Sharmat (Nov 16, 2008)

I enjoyed this a lot. You always put melody first so I know I will always like something in your pieces no matter what you present.

I may be off here but I feel as a listener that I am entering a story and have missed the introduction needed to understand the story. The dynamics could be a bit more varied which may be what re-peat is hearing as swollen. I also like more verb but we have discussed this before so I know this is personal taste. 

That said you compose skillfully and it shows here.


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## david robinson (Nov 17, 2008)

lux @ Sat Nov 15 said:


> Hey David, thanks. Yup, probably it came out more tight and 4/4 than wanted, I mostly wanted a kind of funny change at that point.
> 
> In general there are a lot of things i would change on this piece after listening it for a while
> 
> ...



sorry mate, i meant 6/4 not 4/4!!(too much red wine!)
like the balance better.
if i may, could i suggest, in the last third, to ~ double the themes tempo, cutting out the bass end? (just a couple of times).
best,
DR9.


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## lux (Nov 17, 2008)

Thanks Piet for the nice and encouraging feedback. I tend to agree with all of your comments above about the piece. For some of them, like having some more harmonic complexity here and there and a better treatment and tweaking of sounds like the trumpets key is time spent, i use to create those kind of pieces in an evening, from writing to recording so it happens that i tend to adopt simplier choices where i could just going a bit deeper. I'll try to find the time to be back on it again and fix few more things because your wishes for it are mine too.

Your definition of the mix is right. I have a loudness maximizer and some small eq on it. But its mostly in my mixing dedication that the problems reside. Again a matter of time and perhaps of sonic talent. In general i decided to low down the reverb in this version because in all honesty i feel unable to keep any orchestral detail when using more reverb. and i have a love for detailed listening, like in the early eighties orchestral soundtracks.

Craig, thanks a lot. Yup, youre not off, i usually post stuff that have a sort of "virtual scene" approach, not much of a detailed story. I mean i just figure some unexisting scene with the music. Speaking about whos indeed off, i figured it as playing under an escape scene, when someone (or something) is escaping finally after a long time releasing a long awaited dream. Go figure.

Thanks again David for the good suggestions.

Luca


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## Ned Bouhalassa (Nov 17, 2008)

Lovely piece, Luca. Reminds me of some very enjoyable film cues from the 60s and 70s. Good use of melody. I happen to agree 100% with Piet's comments, so I won't repeat them. Although I do want to underline that the mix sounds 'hyped' - maybe too much limiting on the master? I appreciate that there was a big difference from the first to the second version. It's fun and helpful to hear how the piece evolved.


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## lux (Nov 17, 2008)

Thanks Ned, man. 

Yup probably too much limiting and not a perfect balancement of volumes on some parts.

Luca


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## Frederick Russ (Nov 17, 2008)

Sounds nice Luca - nice writing man. I especially like what's happening at 0:33 - 0:49 with the woodwind staccatos. Keep posting.


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## Sid_Barnhoorn (Nov 17, 2008)

Hi Luca,

Just listened to your track. Lovely track, man. Cool writing and feel. I love the mid staccato passage!

Cheers
Sid


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## lux (Nov 18, 2008)

Thanks a lot Frederick and Sid!

Luca


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## lux (Nov 18, 2008)

This is nice to hear Gunther, thanks 

Luca


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## poseur (Nov 18, 2008)

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## kid-surf (Nov 19, 2008)

I like the piece...

When listening to it as a mock-up (as opposed to "the finished product") one may realize more its potential - if it were to be fully orchestrated/live etc., I believe it would really come to life (obvious as that statement is - we sometimes forget to step back from our samples)

I still would like to hear more movement in the lower register...and it does somewhat JUMP into the scene...but that could be fixed. Yet, perhaps it's good (as a sample of your work) to get right to it. Directors are dumb after all. :D Why not hit them with a big stick so they immediately get it. The finesse can come once there's a film to score and they've got no choice but to request subtlety...when called for. 

"it does remind me a little of some mancini, a little of some morricone"

Ditto that, too...I like the melody. Nice work!


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