# End of Days, 3rd mvt - EWSC, BS, VSL



## Morodiene (Oct 25, 2016)

This movement is the third out of five in my oratorio, End of Days. It's written for 2 soprano soloists, mixed choir, and orchestra.

I used VSL for winds, brass, and percussion, Berlin Strings, and EW Symphonic Choir in Logic X. Text is taken from Revelation and the book of John, and there's an arrangement of Martin Luther's Ein Feste Burg.

I plan to use this to send to prospective conductors to get it performed live, but I would like to improve it as much as I can, so feedback is welcome!

https://app.box.com/s/jdhzhf6rxojsh8obihufv4qxeldswm91

Here is the edited one with suggestions given on EQ:
https://app.box.com/s/k1dcfii6ucrrly47ubbx8sk5sne3xvz4

3rd version of it, more dynamic/EQ/reverb adjustments:
https://app.box.com/s/dnb4gi2ktcjl9khepygpra928as7vxoi


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## Vischebaste (Oct 26, 2016)

Hi Morodiene,

Although, personally, much of the piece doesn't particularly convince me as a genuine orchestra (especially when the arrangement is more sparse near the beginning), it is quite a beautiful piece, I think. I've listened to it a number of times. There are hints of the last movement of Mahler's 2nd in there, and that's not an easy trick to pull off!


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## Morodiene (Oct 26, 2016)

Thanks, Vischebaste. Why do you think it's not convincing? Anything specific that I can do to the mix or the recording to help this?


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## Musicam (Oct 26, 2016)

Wow, its amazing, what choir library? Congratulations.


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## Morodiene (Oct 26, 2016)

@Musicam Thanks! I used EW Symphonic Choirs. There's still some things in there that I should probably fix, but it's a finicky program. I had to render all the tracks to audio because it would get confused with the words if each part was slightly different, so that meant anytime I needed to weak something, I'd have to go back to the unbounced version and play around with that, bounce the audio and bring that into the other project and hope that it worked.

I also overdubbed myself singing on the soprano, alto, and tenor parts to help with the legato and give it a bit more presence. I think I sang the soprano track 4 times, and the alto and tenor tracks 3 times each.


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## Vischebaste (Oct 26, 2016)

To answer your question, the instruments are mixed a little too upfront to my ears - again this is most noticeable at the beginning. It feels as though you need to low shelf away some of the lowest frequencies on the winds, and maybe a shade off the highs a little too. The initial string sound feels somewhat fizzy and synthetic (between 18-25 seconds), and the first few string notes sound as though they're intended to be played legato, but have unnatural sounding gaps between them.

I only say the above to answer your request for feedback - my original motivation in commenting on your piece was that I really enjoyed it  And the vocals are superb!


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## John Busby (Oct 26, 2016)

no pro tips here... just a compliment
very interesting and engaging piece
awesome job on the vocals!
and even greater message
I like it a lot


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## Morodiene (Oct 26, 2016)

Vischebaste said:


> To answer your question, the instruments are mixed a little too upfront to my ears - again this is most noticeable at the beginning. It feels as though you need to low shelf away some of the lowest frequencies on the winds, and maybe a shade off the highs a little too. The initial string sound feels somewhat fizzy and synthetic (between 18-25 seconds), and the first few string notes sound as though they're intended to be played legato, but have unnatural sounding gaps between them.
> 
> I only say the above to answer your request for feedback - my original motivation in commenting on your piece was that I really enjoyed it  And the vocals are superb!


I really do appreciate the information and I'm so glad you liked the piece.  

RE: upfront...ya VSL is so dry it's tough to work with, but I like the suggestions for EQing them a bit. I'll play around with this.

RE: strings, they are con sordino in the first few phrases, so perhaps that's why they sound fuzzy? I get what you're saying about the legato, I'll try to fix that. Can I blame the violas for poor playing? 

@johnbusbymusic: Thank you, but I think you know who gets the credit


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## Morodiene (Oct 27, 2016)

I've uploaded another file based on the suggestions given and put it in the OP. The difference is rather subtle to my ears, but hopefully improved.


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## Vischebaste (Oct 27, 2016)

Hi Morodiene,

It's a subtle change, but to my ears, it makes for a big improvement


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## Gerald (Oct 27, 2016)

Vischebaste said:


> It's a subtle change, but to my ears, it makes for a big improvement


+1, Nice piece Morediene, great work, high musicality!...


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## thov72 (Oct 27, 2016)

very nice. reminds me a lot of some Richard Strauss.....mixed with some Bach
actually its not very nice. Its effing fantastic!!
Hallelujah!!!


did you try panagement to move the winds a bit back?


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## Paul T McGraw (Oct 27, 2016)

Marvelous and wonderful composition. Your harmonic vocabulary is interesting yet immediately comprehensible. The orchestration is excellent. The emotional arc is well defined and reinforced with your use of the orchestra and chorus. I love the allusion or partial quote from "A Mighty Fortress Is Our God" at about the 3:00 mark which is extremely effective. I realize you wanted this to be subtle and it is. I hope you will continue the work. By the way, your voice must be excellent, and the use of the choirs is fabulous. Please continue to finish this work.

Ok, regarding spatialization. Forgive me please if I tell you something you already know. And perhaps some of the more experienced and expert members will chime in if I make a mistake. The two major approaches for spatialization are 1) concert hall and 2) scoring stage. The concert hall approach attempts to imitate a live performance in a concert hall as heard by someone in the audience. The scoring stage approach imitates the sound of a film score with close, mid distance and room microphones. Oddly enough the VSL instruments, though quite dry, are conceived more from the classical concert hall approach, but they require additional spatialization treatment to reach full potential. 

VSL addressed this issue by creating the MIRx reverb plugin that provides a relatively inexpensive way to add realistic spatialization to their instruments for people like myself who are not very expert in audio engineering. Since you currently own many VSL instruments I recommend you look into this.

I have become a big fan of Guy Bacos and William Kersten, both of whom work exclusively with VSL instruments. If you are not familiar with the music of William Kersten, may I recommend his work to you on the VSL forums, YouTube and Soundcloud.


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## Morodiene (Oct 27, 2016)

thov72 said:


> very nice. reminds me a lot of some Richard Strauss.....mixed with some Bach
> actually its not very nice. Its effing fantastic!!
> Hallelujah!!!
> 
> ...


LOL thanks! I'm unfamiliar with Panagement but I just looked it up and will download the free version to test it out. Thanks for the tip!

@Paul T McGraw I hadn't invested in any reverbs since I know so little about them, wanted to mess around with what Logic had and then make a purchase once I know more. My ears still need more developing to be able to detect problems that you guys are pointing out, so I really appreciate the information. I'll take a listen to those composers and get a feel for the sound they are able to generate.

re: the rest of the oratorio, I have 4 movements complete - well, there's the 2nd movement, Day of Wrath that still needs some tweaking compositionally, but most of the parts are there. The 5th and last movement is in progress, with only the main themes figured out. If all goes well, it will be a double fugue. 

I think my next attempt at recording vi's will be the 4th movement which is strictly virtual (orchestra and chorus only). I think that will help me zero in on first mixing dry and wet libraries and developing my ear without having to add the live vocal recording/mixing issues.


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## Cass Hansen (Oct 27, 2016)

Wow! What a voice you have Morodiene. Kudos! Really enjoyed the piece immensely. You achieved a really fine balance between singers and orchestra and choir here. The orchestration itself was right on in my opinion, never heavy-handed but lending a real support to the singers in a true dialog. I did only listen to your edited version.

I actually didn't have any problems with the rendering (well, see below) and the choir really sounds like I'm in the auditorium listening to it live, just an excellent job with tweaking that choir library.

If I have to come up with any criticism on the rendering (because I don't have any for the actual piece itself) it would be that I lost my belief in a live performance at the point where the trumpets come in, just before the choir comes in. Up till then, I didn't think about the piece being virtual or live, I was just enjoying the actual music. What made me notice the trumpets was that you have a quartet (?) singing at that point and then the trumpets come in sounding like they are in front of singers. Of course, unless that is your intention. 

The quartet like in Beethoven's 9th is usually in front of the orchestra and choir. So you have two choices here. Bring the quartet at this point up front a little or place the trumpets back a bit. If you notice a strange thing happens sonically in that the trumpets start out up front and then drift backwards by the end of the phrase, could be the articulations used are uneven.

Anyway, This is a little thing but I thought I'd mention in lack of not being able to come up with anything else. This is really a very finely crafted movement and I enjoyed it a lot!

Cass


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## Mike Fox (Oct 27, 2016)

Really nice piece. Love the operatic vocals on this one!


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## J-M (Oct 27, 2016)

Hey, thanks for the feedback! 

Your piece sounds very convincing, you have a really good balance between the orchestra and the vocals. But like Cass suggested, you may want to tweak the trumpets a bit.


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## synergy543 (Oct 27, 2016)

Wow, real music! Nice composition Morodiene. Mixing tip - listen to individual section stems as you mix (as well as combinations of them) and focus on phrasing. You can always make post phrasing adjustments by nudging the volume automation up and down as needed (yes, its cheating but don't be afraid to use this musical solution). Nothing tricky here, just adjust by ear to find a pleasing balance in phrasing and dynamics between sections (the same as a conductor might do). But really impressive work overall.


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## Jeast (Oct 27, 2016)

I really like the hybrid combination of this song. And the way the vocal recording turns out as well! 

To improve this already good sounding track there are 2 points that come to mind. 
First one is depth. I think its already said above. I would try to push the orchestra a little more backwards with a hall to embed the vocal a bit more.
To really push this to real sounding, a little more dyn/expression movement in the orchestra would do the trick. A little more cc1/cc11.


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## markleake (Oct 28, 2016)

I'm amazed that you have so much patience to play around with EWSC so much, to get it to sound so good. Fantastic work! 

Its a wonderful piece, and I think works best when the choir and orchestra are playing together at full volume.

In regards to feedback, I find myself immediately recognising the instruments are not real - and identifiable as VSL - from almost the first note. I think the woodwinds give it away very quickly because they are too exposed without better reverb treatment. Just my 2 cents... they are soft, but kind of artificially, in that the reverberance on your voice doesn't match the instruments, and your voice is the same volume as the quietly played instruments where if it was real they would be much quieter. It is only further in that I loose the sense that I am listening to samples. Hope that makes sense.


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## jjmmuir (Oct 28, 2016)

Lovely work - thoroughly engaging. Agree with the above comments on the setting up the soundstage. Around 1:50 as an example there is a mix of depth and proximity - the strings particularly seem close and vocals relatively distant. Disconcerting on some level but still enjoyable.
I personally would love to see the woodwinds at the start swapped out with those from fluffy audio. Well done!


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## OleJoergensen (Oct 28, 2016)

Morodiene what a lovely composition! I wish I could hear it in a concert hall, I would be wonderful, Im sure.

Your mock up does also sound good. I miss some low end- bass in your orchestration and also the choir has a different timbre from the rest, it sounds like it is in a different hall. So a reverb that could unite it all will be good. 
There are many good reverbs to choose among. I can recommend East West Spaces.

In your compositions 2 times the female voices duet "jumps" to a high tone- just wonderful! 
Thank you for sharing.


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## Morodiene (Oct 28, 2016)

@Cass I wish I were that clever with the trumpets. No, it's just a brass section, so from your comment I need to push it back more. 

Thank you, @mikefox789 and @MrLinssi for listening and your encouraging words!

@synergy543 & @Jeast, I had originally mixed each instrument section to one another for the balance I wanted, but I think what you're saying is that there needs to be more dynamic contrasts? Also, I can try putting more reverb into the orchestra. I guess I'm afraid of being too heavy-handed with it.

@Jeast, also, thank you so much for the suggestions you've given me with the vocal recording 

@markleake thanks, that really helps me understand better how to balance things, I'll be playing around with this with all of the suggestions in the next few days and repost! And yes, EWSC is a pain, but I also love it because it's the only thing that can actually sing lyrics of any kind with the Votox - which is ingenious. I was forewarned by enough people on here when I as considering buying it that I was prepared for the work involved. I think once you accept the limitations that you have to work within that helps a lot.

Also, being a singer helps tremendously. Often we sing words differently than we speak them in order for them to be understood correctly. Knowing that, when a word didn't sound right in Wordbuilder as one would think, I could come up with something close that sounded better. For example, the word "and" there's really nothing in Votox that makes that kind of "a" sound. When we speak it in the United States, it's almost a diphthong, but when we sing it, it has a more British "ah" to it. So I ended up writing it as "end" in Votox, which worked better than using "and". 

Overdubbing myself on whatever parts I could sing was very helpful too. I have that mostly turned down quite low, but it helps with legato in some places.


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## Morodiene (Oct 31, 2016)

I added a 3rd version to the OP, made some more changes to the reverb, EQ and dynamics per suggestions given.

I'm not really sure what more I can do to help the VSL stuff though, and to make it match with my voice, well, that's a HUGE issue with getting the right mics, the right location, etc. That will be a long process in the making, so for the time being, that part will have to remain as-is.


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## FriFlo (Oct 31, 2016)

Nice one, Morodiene! I wouldn't go crazy with the mockup, if I were you. It is perfectly fine to present the piece to someone and since your goal is to achieve a live performance anyway, it is way more important to get the composition, score and parts perfect. And if there is anything to criticize, I would say that this movement, without knowing the others, misses some "catchy moments". Everything is a nice flow of beautiful music, but nothing really dares to move forward, grabbing the audience, forcing them to "wake up". This may very well be obsolete to the work as a whole. But it should really be the case with an ensemble like this (Soloists, Orchestra and Choir). And, when I say catchy, I also mean some "Ohrwurm", like "Jauchzet flohlocket ...", so the audience moves out with some tunes in their head. Of course, not all music has to be like that, but it is an aspect which cannot be left out totally in my opinion.


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## Morodiene (Oct 31, 2016)

FriFlo said:


> Nice one, Morodiene! I wouldn't go crazy with the mockup, if I were you. It is perfectly fine to present the piece to someone and since your goal is to achieve a live performance anyway, it is way more important to get the composition, score and parts perfect. And if there is anything to criticize, I would say that this movement, without knowing the others, misses some "catchy moments". Everything is a nice flow of beautiful music, but nothing really dares to move forward, grabbing the audience, forcing them to "wake up". This may very well be obsolete to the work as a whole. But it should really be the case with an ensemble like this (Soloists, Orchestra and Choir). And, when I say catchy, I also mean some "Ohrwurm", like "Jauchzet flohlocket ...", so the audience moves out with some tunes in their head. Of course, not all music has to be like that, but it is an aspect which cannot be left out totally in my opinion.


As you say, the context of the whole makes a difference here, and without knowing/hearing that, I can understand what you mean. But the movement prior to this is titled, "The Day of Wrath", and what comes after this is "The White Throne Judgment". The latter is not so bombastic, but has a military feel to it, so I felt the peacefulness of this 3rd movement was important to keep in between those two.

While even the first draft of this would have been fine for a mock-up, I do want to learn the craft and get better at this for other projects...and, well, it's just plain fun!


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## synergy543 (Oct 31, 2016)

A few thoughts come to mind when listening to this. Again, first its very nice and refreshing to hear and that is a HUGE point. I agree with FriFlo that you needn't achieve mockup perfection to present for live performance. However, I do wonder about the orchestration. You might be able to make more improvements in the orchestration than in the mockup at this point. Do you have an orchestral score? It might be good to go over the score with an experienced orchestrator particularly as you're focus is live performance. You're mockup will only sound as good as the orchestration.

As for the mockup, you're enthusiasim is inspiring! Keep at it but also give yourself some time to reach closer towards perfection (you know, you can never quite get there with samples though right? And then there's the Uncanny Valley that crops up when you do really get close. After that, people will start attacking your mockups here on this very forum. Sorry, but its better to be prepared). There are so many good aspects of this that it feels wrong to focus on the negative, yet its the problems that can be improved. 

The biggest issue that stands out for me is your use of section ensembles that sound like they are played in a single pass at the keyboard rather than by a group of individual musicians. In part, this might be due to the sample libs you have available. However, if its possible that you have some libs smaller string sections try doing a few different passes and try to blend them together. Its the slight variations in dynamics and tone of separate that make a larger section sound more convincing. And the reverb balance doesn't feel quite right. Often this is a very delicate balance and small changes can make a big difference both in the reverb selection as well as the settings.

Also, I think you can still make great improvements in the phrasing of each line. As a singer, you certainly know a LOT about phrasing and you need to also apply this to the instruments as well which might not be quite as intuitive as you play the piano keyboard nor to your ear as you play each instrument sample. Try to think of what those players might think as they perform just as you would as a singer. Work on getting each line to sing. Any time you cut this step out, it risks sounding "organ-like".

If you really want to improve you're mockup skills, then it would be good to also do some mockups of existing pieces so that you can compare the original to you're performance. Doing this will teach you more than I could ever say. Like Shia LaBeouf says, "just do it". You'll not only learn about phrasing, but timing, orchestration, mix balance, etc.

Most of all though, just keep doing what you're doing already too! Your musical intuition and inquisitiveness will take you far if you keep at it and are patient with your progress.


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## Morodiene (Oct 31, 2016)

synergy543 said:


> A few thoughts come to mind when listening to this. Again, first its very nice and refreshing to hear and that is a HUGE point. I agree with FriFlo that you needn't achieve mockup perfection to present for live performance. However, I do wonder about the orchestration. You might be able to make more improvements in the orchestration than in the mockup at this point. Do you have an orchestral score? It might be good to go over the score with an experienced orchestrator particularly as you're focus is live performance. You're mockup will only sound as good as the orchestration.
> 
> As for the mockup, you're enthusiasim is inspiring! Keep at it but also give yourself some time to reach closer towards perfection (you know, you can never quite get there with samples though right? And then there's the Uncanny Valley that crops up when you do really get close. After that, people will start attacking your mockups here on this very forum. Sorry, but its better to be prepared). There are so many good aspects of this that it feels wrong to focus on the negative, yet its the problems that can be improved.
> 
> ...


I worked very closely with my composition teacher on the orchestration, so I'm surprised you are mentioning it as an issue. Can you point to a specific passage you hear as a problem? The voice leading is all "by the book," too. 

As for the mock up itself, I really think it comes down to learning how to use the libraries I have. It was certainly not done in a single pass, and I used CC 1 & 11 a lot. It's frustrating because it doesn't appear to be coming across in my end product. 

I may be able to add another string ensemble from another library in future mock-ups. Is that mainly what you do, rather than sticking to one library? Would that help if I also double the brass and winds?


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## novaburst (Oct 31, 2016)

MrLinssi said:


> Your piece sounds very convincing,




Nice work @Morodiene the piece was very moving, the string work was very nice as well as the choir, the whole piece was alive.

A little thing perhaps which I would have done is make it rumble a little more at the lower end with you low instrument part and the percussion but it's neither here nor there, 

It really feels like your enjoying what your doing, its really connecting.


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## synergy543 (Oct 31, 2016)

Morodiene said:


> I worked very closely with my composition teacher on the orchestration, so I'm surprised you are mentioning it as an issue. Can you point to a specific passage you hear as a problem? The voice leading is all "by the book," too.


I'm not saying the orchestration is a problem although it does sound somewhat sparse to my ear. Maybe this is due to the samples? Or possibly its the style you're trying to achieve. It seems very heavy in the strings with support in the winds but little counterpoint embellishment. While doubling in orchestration is important, so too is contrast. And it sounds like you might be able to add a bit more contrast between instruments in the score. Maybe this is the norm with vocal scores, I don't know. I'm certainly not an expert in this style nor in orchestration. That's why I suggested getting the input of someone experienced to look over the score.

I understand your frustration with the expression work not coming across in the mix. This is not an uncommon problem even amongst mockup experts. It requires allowing yourself to be objective and just willing to do iterations and changes until you achieve the results you're after. One thing you might try is to take your template, and open another sequence track and test out each instrument for its position and balance with very simple test lines playing on each instrument so that you can hear them independently of each other. This might help you refine the balance of the mix. You must realize that you're starting with a very large orchestra whereas ideally, you'd start with a smaller ensemble and then build up. I absolutely don't want to discourage you, though you do have to realize that you're setting yourself up with a lot of big challenges. It is what it is. And the best solution I would think would be to break the problems down into digestible size chunks. By tackling them one-by-one you can address each concern.

There are both advantages and disadvantages to working with multiple libraries. The advantage is you have a wider palette of sounds and articulations to select from. The disadvantage is you must learn all of the nuances and quirks of each library in order to get the most out of them. You can clearly hear the advantage in demos from experts who are familiar with a single library such as Guy Bacos and Andy Blaney. Their familiarity allows them to achieve results few users are able to closely attain. So that's something to consider as its true with any instrument. When you're playing the orchestra, you're a one-man/woman band which is big challenge from many different angles. Again, don't be discouraged from my criticism as these are focusing only on the problems areas. You have far more good points than problems, though there's no point in fixing the good points right?  Keep having fun as that is the best way to improve.


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## Morodiene (Oct 31, 2016)

@synergy543, I really do appreciate your points and will take them into consideration. I also understand that with most artforms, the more you know, the more you realize how little you actually know. I am a baby to this all - not just the vi's but also to composing. I've only written a few pieces, and they were mostly solo or small ensemble works. So I realize that it's going to take a long time to get to the point where I actually know what I'm doing, but then I will be more able to see all the flaws too :D . There will always be that "next step" to make something better. 

My process was to play each instrument individually, then go back and edit expression one track at a time, or if I had two of the same instrument (two flutes, for example), I would try to match them in expression as best I could. Then once I did that for all instruments, I then soloed each instrument family and tried to balance them to bring out parts that should be in the foreground and what should be in the background. Finally, I then mixed each family in the whole performance according to what should come out and what should sit back.

I think one of the things I can take away from this going forward is to try to overdo the expression, since it appears to sound underdone. If I can find out where "too much" lies, then I can find a happy medium somewhere in the middle. 

I also feel as though adding another library to the mix, while it may be a good practice in the future, may be something I can do once I've learned to use the libraries I have better. 

Thanks for your feedback and wisdom!


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## synergy543 (Oct 31, 2016)

Morodiene, your process and your plan sound like good strategy. I think you're on the right track, so make haste. And remember to always keep the playfulness and excitement alive!


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## Guy Bacos (Oct 31, 2016)

If I had to chose for an assistant or music supervisor for a major project, synergy543 would be on top of my list, his sense of musicality and excellent communicator surely made me improve by a good 10% with all his comments though our emails. Not to throw flowers here, but just thought I'd mention it.


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## Morodiene (Oct 31, 2016)

Also, @synergy543 (or anyone else), is there a reference piece you can recommend for mocking up?


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## synergy543 (Oct 31, 2016)

Guy Bacos said:


> If I had to chose for an assistant or music supervisor for a major project, synergy543 would be on top of my list, his sense of musicality and excellent communicator surely made me improve by a good 10% with all his comments though our emails. Not to throw flowers here, but just thought I'd mention it.



 Blushing pink. Guy is the expert, not me! Seriously thanks Guy. 
However, I thought I better quote you here quickly before you change your mind. 

@Morodiene - The best references are pieces that you really like and enjoy. And its best to use CD references rather than youtube clips. The two Beethoven pieces below might be a bit ambitious to mockup but they do demonstrate good examples of balance, phrasing and dynamic expression. The Korngold example may be a better example with vocals.

Beethoven Sym 7, 2nd mov


Beethoven Sym 5, 2nd mov


Korngold Die Tote Stadt - Glück Das Mir Verblieb - a quiet recording but nice balance and intergration with voices and orchestra
http://www.medici.tv/#!/die-tote-st...anck-orchestre-philharmonique-de-radio-france
A selection on youtube


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## synergy543 (Oct 31, 2016)

Morodiene said:


> @synergy543 (or anyone else), is there a reference piece you can recommend for mocking up?


Morodiene - Oops I didn't read your question carefully. As for doing a mockup yourself, I'd start with something relatively simple. There are lots of choices, although here are two I'd consider.

Ravel - Ma Mère l'Oye


Holst Planets (maybe start with Venus).


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## Morodiene (Oct 31, 2016)

I LOVE Korngold! However, I think vocals present their own issues, so I'd like to focus on instrumentals for this. Of course, love the 5th. 

But Venus might be a good starter for me. Thanks!


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## Niel (Nov 29, 2016)

Really good piece, I enjoyed it very much! Thank you for sharing.


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## Morodiene (Nov 29, 2016)

Thanks for listening!


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## Parsifal666 (Nov 29, 2016)

How wonderful, Morodiene! It does remind me a bit of Strauss' Vier Letze Lieder (one of my favorite composers), and the perfect example of just how incredible EW Symphonic Choirs can be when patiently utilized. Bravo!


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## Morodiene (Nov 29, 2016)

Parsifal666 said:


> How wonderful, Morodiene! It does remind me a bit of Strauss' Vier Letze Lieder (one of my favorite composers), and the perfect example of just how incredible EW Symphonic Choirs can be when patiently utilized. Bravo!


Wow, thank you! I actually really want to record Beim Schlafengehen when I get better at playing (that solo violin will be tricky) - and maybe when I get a better pair of mics to do it right. I really love Strauss, so being compared to him means a lot.


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## Parsifal666 (Nov 29, 2016)

Morodiene said:


> Wow, thank you! I actually really want to record Beim Schlafengehen when I get better at playing (that solo violin will be tricky) - and maybe when I get a better pair of mics to do it right. I really love Strauss, so being compared to him means a lot.



Yes, but you added some unique touches to your music, you're nowhere near a cover band. The influence was more delightful than obvious homage. Beim Schlafengehen is my favorite of those amazing pieces, I love it very much.

Keep rockin', Morodiene!


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## zacnelson (Nov 30, 2016)

Gorgeous composition! I was enthralled


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