# The Search For The Crimson Amulet: VSS Tester...



## michaelv (Mar 19, 2013)

I just squeezed this piece in before commencing scoring a movie. Originally it was a "tester" for a new template, extensively using VSS, but I realized it filled a space in my ,er, repertoire, namely: fantasy / adventure, of sorts. 

I have certain "opinions" about VSS, now that I've tried it out more seriously. I know I should have presented an A / B comparison of this piece, but that would have taken more time, which I don't have right now. I have over 120 instances of VSS in the template and I haven't had time to construct an alternative without it!

Instead I also post a recently updated piece I did at the end of last year, with similar orchestral forces, but without VSS. BTW, that also fills a space....

Thanks for your ears...


*The Search For The Crimson Amulet* ( VSS mix )

[flash width=450 height=110 loop=false]http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F82207836&secret_url=false[/flash]

*Interstellar Ambush* ( Non-VSS mix )

[flash width=450 height=110 loop=false]http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F84028706&secret_url=false[/flash]


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## synergy543 (Mar 20, 2013)

Whoa!... these two almost passed through the cracks...

Both of these are monster compositions! Always so nicely crafted and orchestrated. Such lovely work I'm hoping you explore this genre further (um...hint, hint).

Although the ambiences are like day and night. VSS makes a tremendous difference. I'd like to hear it in an even larger space though (unfortunately VSS doesn't currently offer that). Intersteller really deserves the VSS treatment too.

Very impressive work, sir. Please do test your templates more often.


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## Guy Bacos (Mar 20, 2013)

Very impressive Sir! You seem to always raise your level. This is really high quality film tracks! What I noticed in The Search For The Crimson Amulet, something I don't always hear in your pieces, is a solid theme that has this JW appeal. Don't get me wrong, you always have solid themes, but having a commercial appeal doesn't hurt, cause all your action stuff is perfect. And thank you for confirming me I have no chance in the film industry!


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## DanPhaseMusic (Mar 21, 2013)

Wow ! That sounds fantastic. I've been trying to set up a working template for a while. I was wondering if you'd be kind enough to share any details on lib's/verb etc ? Obviously it's all in the orchestration but any tips would be great !

Cheers

Dan


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## Walid F. (Mar 21, 2013)

Absolutely love the compositions on these. Amazing work.

Great ambience on the first one too. Specially liked the part at 3:07.

W


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## Dean (Mar 21, 2013)

Excellent orchestration,theres definitely a huge space and great positioning in the first track.
What are you using for all the string runs throughout? Action strings,run patches or old fashioned work and smoke and mirrors,all of the above? D


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## michaelv (Mar 21, 2013)

Thank you very much, everyone, for the very nice words, from some seriously talented people. Makes one feel all warm inside. Or is that the whisky I've been drinking?

Greg, you can really hear such a distinct difference? I have to tell you that I have a couple of small ( perhaps groundless ) reservations about VSS. I love the idea, and the guy, Gabriel , gets full marks for his vision, efforts and wonderful support. But sometimes I feel it colours the sound of the instrument, even using the presets, and if I tilt my head down ( on the Y-axis) I feel sure that I'm hearing kind of weird phasing effect that I don't experience otherwise. I'm with you ( and Dean) that it embiggens the stereo picture, though. For me I experience a more dramatic benefit when listening through headphones. Maybe my speakers aren't up to it.

Dan and Dean: I'm using all the usual suspects: any library I can lay my perverted mitts on. The reverb is Altiverb 7, on multiple busses and a bunch of tails set up to work with VSS, plus one on the main output for overall polishing. I'm not a huge fan of overly reverbing everything. It's hard enough for me to achieve clarity in a dense arrangement as it is, without blurring it to fudge shortcomings in my programming!

Dean, the string runs are a combo of VSL, and recently, OSR, which I've been experimenting with. Actually it's quite quirky, but I find it to be very effective. For straight scalic runs I use the normal, one-finger samples, but for the more elaborate roulades and arpeggiated passages I play it all in by hand. One "trick" I use is to have three or more instruments playing the same thing. I'll start by playing in one,then copy / pasting it to another ,say, violin section, in e.g.: LASS and VSL. Then, I'll quantize one, leave the others with more,um, liberal timing, then I'll play around with subtle riding of the pitch bend wheel. The overall effect, when successful can be very convincing, but I wrestle on a daily basis with sample mockups and the quality of my renderings and the actually composition, too. None of it is ever good enough for me. Those two are really not finished for me. They're testers, but I would like to keep at them, when I have time, to get them even better. Things is, I get bored of them after a while, and lose my ears. It never comes up to the real thing, but libraries and programmers are getting better and better; closer and closer.

Guy, your words, as ever, are wildly over-generous, but nonetheless appreciated and treasured, and I take the JW thing with astonished flattery. It's tough to avoid him and Silvestri ( two of my very favourites, along with a few others,lol), when tackling this style. But I guess maybe the best approach is what you do so well. Namely, go further back to their inspiration. People like Wagner and Rimsky and Stavinsky ( circa Firebird and even Rite Of Spring ), and Prokofiev. The list goes on. Anyway, there others on this forum better qualified to do justice to JW than I. Mine are clumsy hints of the style.

As far as your having no chance in the film industry, I beg to differ. You can score me off the scoring stage, I'm sure. In fact it's _you_ that might be hiring _me_ for additional music someday soon! 

Sorry for the ramble, but I've just come off a couple of hectic cues and needed to stretch out a bit with this post. Thanks once again, everybody. I'm interested to hear anyone's opinion of VSS. It's fantastic value for money. No, I'm not on Gabriel's payroll….


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## Farkle (Mar 21, 2013)

Michael, I can only comment on what I'm hearing, but honestly, the VSS mix sounds night and day more "spatially realistic" than the non-VSS mix.

This is not a comment on the orchestration and composition, which, frankly, are fantastic! Both pieces have that virtuosic cinematic development.

But, for example, in the Interstellar Ambush cue, when the brass and strings are firing at the same time, they feel more like they are in the same "distance plane", like the same distance from the listener. In the Crimson cue, the strings definitely feel "in the scoring stage" and feel both further from the listener than Interstellar Ambush, and closer to the listener than the brass.

FWIW, these two examples made me go and d/l VSS to get some time with the demo, and I've been so impressed that I'm probably going to buy it in the next 2 weeks.

I've been trying to make Early reflections using roomverb EQ's, or the Bricasti M7 impulses, but nothing sounds nearly as natural as this VSS.

Michael, thank you for sharing these great cues, and yes, in my opinion, the VSS cue has much more realistic "spatial placement". Really sounds like it came off of a legit Hollywood scoring stage!

It also helps that you're channeling one of my favorite composers, Alan Silvestri!

Mike


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## synergy543 (Mar 21, 2013)

michaelv @ Thu Mar 21 said:


> Greg, you can really hear such a distinct difference? I have to tell you that I have a couple of small ( perhaps groundless ) reservations about VSS. I love the idea, and the guy, Gabriel , gets full marks for his vision, efforts and wonderful support. But sometimes I feel it colours the sound of the instrument, even using the presets, and if I tilt my head down ( on the Y-axis) I feel sure that I'm hearing kind of weird phasing effect that I don't experience otherwise. I'm with you ( and Dean) that it embiggens the stereo picture, though. For me I experience a more dramatic benefit when listening through headphones. Maybe my speakers aren't up to it.


Michael, I can clearly hear the difference on my speakers and it certainly adds a sense of depth on the Crimson Amulet that is not in Interstellar Ambush (which is much more up-front). However, I would like to hear an even larger VSS environment and a bit more reverb. While VSS adds a tremendous amount, I think there is still room for improvement in the mix and your composition certainly deserves to be mixed as if done by Shawn Murphy. By the nature of the reflections created, VSS will add some phasing effects although this is not necessarily a bad thing in itself. The same would happen with mics bleeding and reflecting off of walls and floors. I think it is just a matter of experimentation to find improvements. I would start maybe by comparing against some reference tracks. However, despite these comments, I think its a tremendous achievement and you're certainly moving in the right direction. Now I want some of that whisky your drinking too!


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## Hanu_H (Mar 22, 2013)

Both are really amazing pieces. What do you use for brass and woodwinds? The horns in the Crimson Amulet sound great.

-Hannes


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## michaelv (Mar 25, 2013)

Mike and Greg: I really appreciate your taking the time to be so analytical and positive. I've heard them both again with fresh ears and I do see what you mean absolutely. The VSS is a more rounded and realistic sound picture. Ambush sounds more like a Danny Elfman mix. You know: that in - your- face, super up front sound which I happen to like for certain things ( maybe not or this ), and I guess I subconsciously emulated it. It definitely needs more reverb. However, I'm really coming round to the warmer, deeper ( front to back, I mean ) mix of the VSS, and from now on I will use that for this type of work, though right now, the mockups I'm doing for this film are not using it, and it doesn't matter so much, as it's a horror movie, so, in your face is what it's about.

Mike, I'm really glad it's been decisive for you,to take the plunge. You will find VSS astonishingly cpu-light and user-friendly.As I said, I have over 120 going and they don't seem to even tickle the i7 on my iMac.

Greg, I appreciate , as ever ,helpful and witty contribution. Do you think Shawn Murphy might help me if I offered him a decent libation?! I think you are right, there is yet room fof improvement. After all, this was my first foray, and I expect to improve . As I previously said, I'm never happy with my results anyway, but that's a good thing I think. I'm not entirely sure what you mean when you mention a larger VSS environment. Perhaps you might elaborate, if you've the time.I'm definitely coming to terms with the slight phasing effects / artifacts. I think it was purely something I had not expected and had to accustom myself to.

I still have the urge to remix both, but haven't the time right now!

Hannes, very nice words, which were appreciated. The brass and winds are the usual combinations of many different things: VSL, SAM, Albion, HW, CB, Symphonic Sphere. The horn theme on Amulet was SAM, BTW.


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## synergy543 (Mar 25, 2013)

Michael, check your mailbox, I sent a 'short note' via PM


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## rJames (Mar 25, 2013)

Wow. On the compositions, orchestration and VSS.


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## George Caplan (Mar 26, 2013)

michaelv @ Mon Mar 25 said:


> As I said, I have over 120 going and they don't seem to even tickle the i7 on my iMac.



awesome music. the sound with vss sounds best, do you use a single imac for doing your music? i asked about them recently.


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## Vision (Mar 26, 2013)

Really outstanding writing on both tracks. I'm on my laptop atm, but I can hear the difference using VSS on Crimson Amulet. It does give the track a bit more depth. I considered getting this or Vienna MIR. I'll have to check out the VSS demo later on today. Excellent job Michael, really enjoying your work.


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## TGV (Mar 26, 2013)

Just to say: great tracks, great sound, each in their own respect, although I prefer the sound of the first one. It sounds more natural, more open, less boxy/compressed (although not in the sense of "using a compressor").


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## michaelv (Mar 27, 2013)

Mike: Alan Silvestri. He da man. He's one of my all-time favourites, and is up there with the greats, in my opinion.

Greg: got it and will respond when I have time, thank you.

Ron: thanks so much. high praise, coming from yourself.

George: again, thank you very much. Yes a single , new iMac, with 32 GB RAM, and several hard drives, including a 4TB FW RAID. Actually, the next thing I need to get is a Thunderbolt RAID. I used to have a "proper" studio, with a lot of computers and hardware, as you might see on my website. But, around three ago, something pretty catastrophic occurred to me, which since deprived me of all the equipment. I can't go into this, but I've spent that time recovering and am getting back on track now. Enough of the backstory. Anyway, the iMac is monstrously powerful. I don't freeze tracks and the only thing that occasionally comes up is that annoying, well-documented random cpu spike on one core. I do miss my studio ( the multiple displays and some hardware, like my Avalon ), but this iMac is doing an incredible job of replacing four computers!

Peter: really flattered, thank you, and it seems that VSS is, for now, the way to go for me, as I cannot speak at all about MIR. Guy Bacos would be the expert on that….

TGV: many, many thanks. Yes, it seems that VSS is a success. I still like that up front sound of the other, though, for certain things. But I know on this occasion, "Ambush" needs more reverb, overall.


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## Farkle (Mar 27, 2013)

Absolutely, Alan Silvestri is right up there with the greats, in my opinion. He has a great craft of getting his emotions to clearly speak thru the orchestra, with no clutter. Just excellent.

Back to the Future? Fantastic Score.
Forrest Gump? Totally emotionally awesome.
Predator? One of my favorite Scores hands down. So muscular, so sci-fi/horror. Just brilliant brass writing.

The other gent that I'm getting back into is Elmer Bernstein.

From Magnificent 7, to To Kill a Mockinbird, to Airplane and Ghostbusters, Elmer had the chops. 

So, back to VSS; if I may ask, why so many instances? Are you (for example) putting an instance on LASS Vlns 1 section A, another one on LASS Vlns 1 Section B, and a third one on LASS Vlns 1 Section C?

And, do you basically turn "off" all of the direct signal in VSS, and only use the Early Reflections Volume?

Thanks again for the great piece, and for taking time to answer these questions!

Mike


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## George Caplan (Mar 27, 2013)

michaelv @ Wed Mar 27 said:


> George: again, thank you very much. Yes a single , new iMac, with 32 GB RAM, and several hard drives, including a 4TB FW RAID. Actually, the next thing I need to get is a Thunderbolt RAID., but this iMac is doing an incredible job of replacing four computers!



thats incredible to get that from one computer. like i say i did ask about this elsewhere but didnt get anywhere with replies and you have now done that. is that 4 tb inside the imac or is it external and sorry to be going on but what is a thunderbolt raid? i just ask because my computer is old and starting to go. cant believe that sound from one imac.


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## rayinstirling (Mar 27, 2013)

Inspiring cues, both.
thanks for sharing.


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## Simon Ravn (Mar 27, 2013)

That is very inspiring and awesome sounding music! Definitely one of the best things I have heard lately - you are obviously a very talented guy 8)


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## michaelv (Mar 29, 2013)

George: Absolutely no problem at all. Yes, it's an amazing computer. Thunderbolt is the new data transfer protocol, and it's , er, lightning fast. Way faster than Firewire 800. My RAID is an external 4 TB FW 800, and although it's OK, sometimes I get samples dropping out. I don't expect that with a Thunderbolt drive. They don't seem to drop out in the bounce though. I love this computer, but when my career gets truly back on track I would really like a couple of Mac Pro's with around 64 GB RAM each. However, right now, this iMac is nothing short of miraculous. Please feel free to ask anything you want….

Ray: thank you very much, sir. Most appreciated, from a really fine musician.

Simon: your reputation goes before you, and I know some of your fantastic work. Trust me, the feeling is entirely mutual, and I appreciate the kind words. _You_ might think I'm talented but I'm afraid that currently all the major trailer companies seem to disagree…. :-s BTW, Watch out for a PM from me in the near future….


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## Guy Bacos (Mar 29, 2013)

Ok, you're now in my most annoying composers list :evil: , previously referred as most talented composers list. :wink:


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## Dracarys (Mar 29, 2013)

This puts my post to shame, I don't think I'll ever be this avant garde.

Nice job!


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## R.Cato (Mar 30, 2013)

Whatelse can I say but wow.


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## dedersen (Mar 30, 2013)

It's difficult for me to focus on the mix when faced with a composition of this level. Just splendid writing, really blew me away; on the first as well as on the many, many repeat listens.


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## Gerald (Mar 30, 2013)

+1, congrats!!! What else?...


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## TSU (Mar 30, 2013)

So great compositions! Thank you for sharing. Very inspiring...


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## michaelv (Apr 3, 2013)

Seriously, people, your response is too kind. I know I don't comment enough here. It's not out of discourtesy, envy or any other kind of negative emotion. I just don't have the time to be kind back. That sounds terrible, I know: not meant to be. It's really something when I get nice words from people who don't know me , and who are fantastically gifted, so it means that much more. Amazing. I really do think you're great writers and deserve success. 

I think my ears ( and brain ) have been blown, scoring this horror movie,because I cannot listen to those pieces now, without almost hating them. All I hear are the faults. We all do that sometimes , right? And they were only meant as tests anyway. It never sounds good enough, and I'm on the razor's edge, because I did a cue and I thought it was probably the best thing I'd ever scored ( well ,the last section ), and the director didn't get it! Anyone who's scored a film will have had this, but it doesn't make it any easier. Luckily he's loving all the other cues, so far. So much music, too little time.

Sorry, I'm rambling, because I'm all burned out right now. I do appreciate your comments, one and all. And Guy: mwah. You're a mad, mischievous and unpredictable genius.

No, I'm not drunk, BTW. Yet…..


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## Guy Bacos (Apr 4, 2013)

Ok, time for the truth Michael. 

It was all a group prank to make an April fools joke, but stretched it out longer to make it more cruel. The pieces really sucks, and you thought it was all true! 

HaHA! HaHaHaHaHa! LOL-lol

Ok, THAT was a joke. 

a big fan,

Guy


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## George Caplan (Apr 4, 2013)

michaelv @ Fri Mar 29 said:


> George: Absolutely no problem at all. Yes, it's an amazing computer. Thunderbolt is the new data transfer protocol, and it's , er, lightning fast. Way faster than Firewire 800. My RAID is an external 4 TB FW 800, and although it's OK, sometimes I get samples dropping out. I don't expect that with a Thunderbolt drive. They don't seem to drop out in the bounce though. I love this computer, but when my career gets truly back on track I would really like a couple of Mac Pro's with around 64 GB RAM each. However, right now, this iMac is nothing short of miraculous. Please feel free to ask anything you want….



thank you michael!!! that is extremely helpful. so much so i think i am going to get that. i wonder if i can link it up to my old mac i have now. and if that were possible how useful would it be.


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## mverta (Apr 4, 2013)

Michael -

Solid; dig the stuff - breath of fresh air!

From one Michael V. to another - with painfully similar influences - I might just say dial it back one notch. One too many times I could've told you the cue and bar number. 'knawI'msayin'?

Please post more.


_Mike(V)


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## mark812 (Apr 4, 2013)

Great composition. VSS is really an awesome plugin.


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## Guy Bacos (Apr 4, 2013)

Not to get too personal, but it is quite beyond me why this guy isn't already in Hollywood scoring big budget movies. What more can you want from a track? 

Out there... directors? Hans?


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## mverta (Apr 4, 2013)

As Hans told me, this particular sound isn't really "in vogue" these days.

_Mike


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## michaelv (Apr 4, 2013)

George: again, my pleasure. I would suggest you connect up your other computer to the iMac, via ethernet and use the Apple Audio MIDI Setup to get them to work together. I had a lot of success like that with several Macs, in the past. I just noticed your location is London. Have you moved ?!

Guy: as I said, mad mischievous and a genius, but I'm now even more paranoid. I had suspicions there was a conspiracy going on.

Mark: very kind of you. VSS is new to me, but I am very much warming to it and looking forward to using it extensively in the future. I guess that you're using it yourself….

Damn, another Mike V. You do realize, sir, that when I come to LA ,one of us will either have to change names or just get out of town! :wink: Very funny: you made me laugh. On the other subject you raise, one knows one has become immortal when people talk about one and everyone knows who one is, without even mention the name. Too many ones in last sentence, I feel.

Anyway, flattering with a capital everything, for your dropping by and being so complimentary. One thing I'd say in my defence about the influence, though of course your point is well taken. They are not what I would call typical of my "style", in that they were testers, with large orchestral forces, to push the template and VSS. I concede , though,that occasionally there will be certain "-isms" in my style.God, they're not really in your league of amazing mastery of that idiom. And they're certainly not real-world-ready! If you saw the mess of the Logic files you'd scream. I tend not to be too careful about proper layout / structure, if I know that they're not to be passed on for a real orchestra to play. I take real liberties with sample libraries, and do anything to achieve the desired result. More often than not, I fail.....


When I get time I might post a couple of things from the film I'm on, or send to you privately, if you're interested. Thanks so much for joining in.

Guy ( again ) stop it, with the super-nice words. I'm running out of cheques to send you….


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## synergy543 (Apr 4, 2013)

mverta @ Thu Apr 04 said:


> As Hans told me, this particular sound isn't really "in vogue" these days.
> 
> _Mike


Intriguing comment. So if you're not doing DubStep or NineInch Nail style soundtracks you're not in vogue? 

Is that really what its about to be a film composer today? Are film directors really that tuned into exactly what is "in vogue" whereas may of us composers are admiring works and talent from the past? 

I suppose Michael Bay might tell us Bach is for the birds. (what do I know?) But have you checked the guys (Bach's) latest IMDB? That dead guy is busier than all of us combined! I guess because they don't have to pay him royalties?
http://www.imdb.com/name/nm0001925/


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## mverta (Apr 4, 2013)

michaelv @ Thu Apr 04 said:


> Damn, another Mike V. You do realize, sir, that when I come to LA ,one of us will either have to change names or just get out of town!]


I was here first. But I've been thinking of changing my name to Rosenpenis, so maybe this is kismet.



michaelv @ Thu Apr 04 said:


> One thing I'd say in my defence about the influence [is]...that they were testers, with large orchestral forces, to push the template and VSS. I concede , though,that occasionally there will be certain "-isms" in my style.God, they're not really in your league of amazing mastery of that idiom.


Actually, one thing I'd say in your defence is that they're_ not_ merely the imitative "-isms" that drive me nuts, but represent an understanding of the essence of the style, which is the difference between a pastiche hack and a torch-bearer. I listened all the way through. Both pieces. That's not only an astoundingly pretentious thing to say, it's also cause for me to say thank you for the pleasure.



michaelv @ Thu Apr 04 said:


> When I get time I might post a couple of things from the film I'm on, or send to you privately, if you're interested.


Please do! I look forward to it, as others obviously do, as well.

_Mike


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## mverta (Apr 4, 2013)

synergy543 @ Thu Apr 04 said:


> mverta @ Thu Apr 04 said:
> 
> 
> > As Hans told me, this particular sound isn't really "in vogue" these days.
> ...



Well, he was absolutely trying to be helpful and encouraging, not discouraging. It was the preamble to some ideas he had for me. His exact words, for the record, were, "Your style - the sort of 'John Williams' style - is not particularly in vogue these days, that's all." It was intended as both a compliment and a reality check; both are gifts. At least, that's how I took it, so that's the story, and I'm sticking to it. 

_Mike


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## Rob (Apr 6, 2013)

brilliant writing and midi performance, Michael!


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## michaelv (Apr 6, 2013)

Coming from yourself, that means a great deal, Rob. Thank you. BTW, I think you were probably born cool….

Let's cut to the chase, Mike: Rosenpenis is a fine name. A damn fine name. But I urge you to reconsider changing to that, if you still want to be taken seriously. I speak from bitter experience. For a short time, in the '80's, I changed my name to Schpermdonner, with disastrous results. I was shunned by my fellow cons, sorry, pros, and it really compromised my credibility. Ostricised by an industry that had given me so, er, much. I had to revert, and I'm still recovering from the ignominy of it all.

Pretentious? Is this where I now go: " Pretentious: moi? " ? You're right, of course. I think "stylistic substrate" is far more appropriate and acceptable. Any pretensions on my part are entirely intentional , BTW, and give me pleasure equal to your own.

Joking aside , Mike, thanks for your expert and humorous contributions: a real honour, from a true virtuoso, and I appreciate your listening in such detail. Means a lot. Gotcha, re posting / PM'ing a couple of cues.


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## lux (Apr 6, 2013)

Both great accomplishments Michael, indeed!

Luca


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## George Caplan (Apr 6, 2013)

michaelv @ Thu Apr 04 said:


> George: again, my pleasure. I would suggest you connect up your other computer to the iMac, via ethernet and use the Apple Audio MIDI Setup to get them to work together. I had a lot of success like that with several Macs, in the past. I just noticed your location is London. Have you moved ?!
> .



thats good information and advice. moved? no my younger son has gotten married here lately and we are leaving soon back to ct. and then on to the monterey peninsula.


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## benmrx (Apr 6, 2013)

Both pieces were extremely inspiring! Thank you for posting them. The compositions and the mockups are definately something to aspire to. That said, I definately like what VSS is doing.


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## Dracarys (Apr 6, 2013)

mverta @ Thu Apr 04 said:


> As Hans told me, this particular sound isn't really "in vogue" these days.
> 
> _Mike




I'd have to agree with this, hybrid scores are more popular these days, the most impressively intricate/dynamic orchestral pieces I hear today are in random B list movies, or Harry Potter.


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## michaelv (Apr 8, 2013)

George: PM me if you want any advice on the MIDI over LAN thing. I'm no expert, but I got to work perfectly with several Macs.

Benmrx: Really appreciate the compliment. VSS is going to be part of my orchestral template from now on. I still need to work on it, though: it's early days fro me.

Casalena: As you may be aware, hybrid scores have been around a long time: as far back as the late 70's / early 80's. In particular, one pioneer, Jerry Goldsmith, paved the way for mixing electronic and orchestral. I was rather surprised by the inclusion of Harry Potter, there! Which Harry Potter scores ( other than JW's ) did you admire?

Have you heard the work of Cliff Martinez? I recommend The Limey, to appreciate the way he uses "modern" techniques, with sophisticated harmonies and unusual piano tunings. A quiet score, for this type of film, but incredibly effective.

BTW, I loved Mike Verta's honesty regarding what Mr. Zimmer said to him.As usual, Mike made some telling comments about things.


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