# New Track "That´s not the real Hollywood". Update: Finished



## AlexanderSchiborr (Jul 13, 2016)

Hej Guys, 

I posted that track in the sample CSS Talk but thought to share it with you here in the members composition section. Opinions and ideas are welcome.  This track is a part of my private studies which I do when I have some spare time inbetween my projects.

Here we go:



Thank you for listening.


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## Rodney Money (Jul 13, 2016)

I love that melody!


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## AlexanderSchiborr (Jul 13, 2016)

Rodney Money said:


> I love that melody!



Thank you Rodney. Guess you refer to the a Section? 

PS: I will get back to our conversation tomorrow.


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## zacnelson (Jul 14, 2016)

I love it Alexander, and I really look forward to your next revision, make sure you notify me when the next version is uploaded!


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## SymphonicSamples (Jul 14, 2016)

Great piece Alexander, will be intersting to hear the finale version. I also dig the melody, it reminded me of StarTrek Voyager's theme in the subtlest way in the first phrase and I only say this because I'm a Sci-Fi junkie and it placed me instantly in a good musical vibe


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## AlexanderSchiborr (Jul 14, 2016)

Hi Guys,
Thanks for the words and nice comments also on sc. I had a bit time to revise a few sections and add a few more bars. This kind of writing is very challenging for myself as I am going to my limits of my writing skills.



Influences are for sure some Williams, also Horner (Gott hab ihn selig), but also some stuff of Mike Verta / Mike Patti. (which I value a lot both guys because of their writing and helping other composers)


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## AlexanderSchiborr (Jul 17, 2016)

Hey Folks,
I have added a few more bars in the track and worked out some voicings in the earlier parts. I wish you a nice sunday.


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## Danial (Jul 18, 2016)

There's something going on. It's Williams without the visuals. Love your work!


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## AlexanderSchiborr (Jul 18, 2016)

Danial said:


> There's something going on. It's Williams without the visuals. Love your work!



Thanks Danial, but I am far away from that class / league..


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## AlexanderSchiborr (Jul 26, 2016)

Hi Guys, 
I had some time and wrote more than a minute of new arrangements for my track. Let me know what you think of the new parts. I also revised the existing parts quite a bit, and here we go:




PS: The solo piano at the end is just the blueprint for the orchestration and not meant to be solo, not sure if that parts with piano will follow like that.just for your information.


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## storyteller (Jul 26, 2016)

AlexanderSchiborr said:


> Hi Guys,
> I had some time and wrote more than a minute of new arrangements for my track. Let me know what you think of the new parts. I also revised the existing parts quite a bit, and here we go:
> 
> 
> ...




Wonderful work Alexander! I enjoyed it and look forward to hearing how it continues to evolve.


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## AlexanderSchiborr (Jul 27, 2016)

storyteller said:


> Wonderful work Alexander! I enjoyed it and look forward to hearing how it continues to evolve.



Hi Storyteller. Cool that you dig the track! 

Today I composed almost a minute of new stuff. Actually I have a bit time, so that is good. Now the track hits almost 4 minutes. When I am done..I will revise and polish everything, incl. Voicings, and programming.


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## Cass Hansen (Jul 27, 2016)

What’s there not to like about this. Really an exemplary track! It’s the best posting I’ve heard from you thus far Alexander, at least the ones I’ve heard and I can tell you’ll proud of this one and you should be.

What I find so great about this piece is not your orchestration or rendering, (because those are always good on everything I’ve heard from you) but rather that it is very, very musical, well thought out, and development of the motifs are outstanding. 

You have your main theme, repeated twice with different orchestrations to cement it in our brains followed by a couple of different motif phrases which are tossed around and intensify until you get to your 2nd theme at 1:24. What’s great about this theme is that it fits the contour of the first theme, whether this was a conscious or unconscious decision on your part I don’t know, but it works very well because the theme somehow sounds very familiar but different. The variation of this theme at 1:40 with the quick upward grace notes is also excellent, something Beethoven would strongly approve of I’m sure! Eventually all Hell breaks loose and turns into very dynamic writing indeed!

The only negative for me is purely subjective and you can totally ignore me if you wish (and I’m sure you will  ) is that the first part of the piece is mesmerizing and then at 2:50 it changes. The first half seems like a dynamic concert piece and after 3:00 sounds like a quasi John Williams movie score to me. I know you are trying to develop the material at this point and lengthen the piece, but to me it comes across as a little long in the tooth, rehashing with not a lot of new thoughts or inventiveness added. I say John Williams because 3:00 reminds me of the entrance of the Ewoks and at 3:40 we join ET. Before the 3:00 mark however, I didn’t think of John Williams at all, it just sounds very original, very Alexander Schiborr which is what we all strive for, raison d’etre!!

I would end the piece around the 2:50 mark with a huge intense ending which you already have going anyway. At any rate, up to the 2:50 mark, you hit this one out of the ballpark. After that, it’s good but not tantamount to the first part. I only mention this to give you something to think about. It’s good regardless.

A+ excellent, excellent work!

Cass


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## Mike Fox (Jul 27, 2016)

What a fun track!


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## AlexanderSchiborr (Jul 27, 2016)

Cass Hansen said:


> What’s there not to like about this. Really an exemplary track! It’s the best posting I’ve heard from you thus far Alexander, at least the ones I’ve heard and I can tell you’ll proud of this one and you should be.
> 
> What I find so great about this piece is not your orchestration or rendering, (because those are always good on everything I’ve heard from you) but rather that it is very, very musical, well thought out, and development of the motifs are outstanding.
> 
> ...



Cass, thank you for your rendering here. I really didn´t want to feel you uncomfortable on the other thread. I know you can do great stuff and heard from you other stuff which I value a lot. That it didn´t worked with one track for me doesn´t mean you are not good. It is the opposite. Just to clarify that, though it is maybe the wrong thread here.
To your feedback: I will have a listen later to my stuff and have your comment aside, so I can better evuluate your ideas for the track. And of course I don´t ignore you why shouldn´t I? Come one we are all composing learners for a lifetime.
Thank you again to you guys that chime in and show me what works and what might not.

PS: The transition to ET doesn´t work like that, I have to fix that tomorrow. You can go with et but sustain the cliffhanger and modulate orchestrationally and dramawise better into that part. BTW: The ET is a derivation of the maintheme from the beginning but orchestrated in a quirky way that this time strings are doing the melody while the Woodwinds are doing all those runs. I still need to do the harp gliss 8va up/down.


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## Cass Hansen (Jul 28, 2016)

AlexanderSchiborr said:


> Cass, thank you for your rendering here. I really didn´t want to feel you uncomfortable on the other thread. I know you can do great stuff and heard from you other stuff which I value a lot. That it didn´t worked with one track for me doesn´t mean you are not good. It is the opposite. Just to clarify that, though it is maybe the wrong thread here.
> To your feedback: I will have a listen later to my stuff and have your comment aside, so I can better evuluate your ideas for the track. And of course I don´t ignore you why shouldn´t I? Come one we are all composing learners for a lifetime.
> Thank you again to you guys that chime in and show me what works and what might not.
> 
> PS: The transition to ET doesn´t work like that, I have to fix that tomorrow. You can go with et but sustain the cliffhanger and modulate orchestrationally and dramawise better into that part. BTW: The ET is a derivation of the maintheme from the beginning but orchestrated in a quirky way that this time strings are doing the melody while the Woodwinds are doing all those runs. I still need to do the harp gliss 8va up/down.


Hey, thanks a lot Alexander. I appreciate it. And as for the ET, I didn't mean to insinuate that the melodies are the same (I heard yours clearly there) I meant that the overall feeling, orchestration, lead-in, was similar to what John Williams did in ET and hence it immediately reminded me of that film. No big deal really, just ignore that thought.
Cass


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## Rex282 (Jul 28, 2016)

hmmm..is this a secret society hidden recording because I don't see any links.


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## AlexanderSchiborr (Jul 28, 2016)

Rex282 said:


> hmmm..is this a secret society hidden recording because I don't see any links.



No, it is not, but it seems the within the last days sc somehow might have problems with their player. Other people in another thread experienced that same problem. On my side it does work actually


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## mc_deli (Jul 30, 2016)

Excellent. Totally mind blowing on all counts. I am really struggling to nit pick here... maybe some machine gun in the wind runs towards the end jolted me back to reality... but wow, really amazing. And inspiring, thanks.

(more about the tools is always interesting... just CSS? HWW runs and BWW?)


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## TGV (Jul 31, 2016)

Really great track. I hear a bit of 19th century classical orchestration and Mahler (3:18) in there, and you really glue the track together with that theme. It's almost classical development, and it would work undoubtedly in an action scene.

Wrt to the rendering: I thought the strings were a bit loud in comparison to the brass.


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## AlexanderSchiborr (Aug 1, 2016)

TGV said:


> Really great track. I hear a bit of 19th century classical orchestration and Mahler (3:18) in there, and you really glue the track together with that theme. It's almost classical development, and it would work undoubtedly in an action scene.
> 
> Wrt to the rendering: I thought the strings were a bit loud in comparison to the brass.



Hi TGV,
Cool. Mahler is definitely a big influence for me in general as I do transcribe by ear his voicing, style and chord progressions from his symphonies. Ecspecially I spent a lot of time with the 4th movement of his titan symphony. But my intention here was not so much mahler, maybe I already internalized that and do that. I think there is this buildup at 3:33 where i do this kind of halfstep modulation where you start at a note and then you ascend and descend at the time in halfsteps down and up. This is very common thing what he did in couple of symphonies. It builds up very much tension. Besides that you said the strings are bit too loud, I guess I like to hear them prominently and I think they are on a boarder of beeing still ok.



mc_deli said:


> Excellent. Totally mind blowing on all counts. I am really struggling to nit pick here... maybe some machine gun in the wind runs towards the end jolted me back to reality... but wow, really amazing. And inspiring, thanks.
> 
> (more about the tools is always interesting... just CSS? HWW runs and BWW?)



Hi Mc_Deli,

Thanks to you as well. I will look up the windruns there..thanks.
Well for the Winds I used a mix, here we go:

Oboe, Clarinet, Bass Clarinet, Bassoon (Hollywood Orchestral Woodwinds)
Flute Ensemble (Strezov Sampling)
Oboe, Clarinet, Flute and Picc (VSl Special Edition)

All the runs are performed and no precorded runs, though I know prerecorded runs sound in terms of realism a bit better. But still I think that you can do good versions when performing those runs and trying to arrange them right in dynamics to each other. A good thing is to listen to some prerecorded runs from Cinesamples Hollywood winds for instance.

BTW: Yesterday evening I was having another 6 hours session on that track and created a couple of new bars, around 30 seconds of more developed ideas. Don´t know though yet if they contribute anything good to the track but I hope so. After 16 hours of music..I wasn´t completely sure anymore. I tweaked also some older sections in terms of Dynamics, some of the Horns and trumpets were too extreme ff which isn´t musical at all, so I reworked them, you know all a bit quiter..which is the better "loud".


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## zacnelson (Aug 2, 2016)

Alexander, I'm really enjoying the gradual process of this track being added to, and listening to it repeatedly with each variation and seeing it evolve. I think it's getting to the point where you might want to think about concluding the composition, there's only so long you can keep tinkering with variations on that same theme before it starts to get repetitive. I love all the colours in your brilliant orchestration, in particular I think the second half of the track really holds together beautifully, with the transitions between each section working so smoothly and gracefully. 

As I've told you privately many weeks ago, there are still a couple of moments in the first half that don't work for me yet. At 0:29 when you repeat the theme, I think you need something on the first beat of the bar (a crash cymbal perhaps) just to announce the phrase a bit. And despite having listened about 10 times to your track, I never find the mood change at 0:41 to be satisfactory or organic, whereas later in the composition you managed such mood shifts with far greater success! 

And lastly, there is a section from 2:00 to 2:15 which just doesn't work for me at all on any level, I can't really identify what I don't like, but it's really the only section in the composition which is a low point, you lose me there and then it recovers at 2:16 and just gets better and better and better.

Anyway it must be tiresome hearing so many people offer different suggestions, and thanks again for your graciousness as always, and your detailed responses to all of the various comments on this thread. You are a credit to this forum.


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## Baron Greuner (Aug 2, 2016)

Alexander you are a Teuton! Some great ideas. Try a simple harp arp at 0.29 and keep me and Zac happy. You actually do this later on for a simple transition.


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## AlexanderSchiborr (Aug 2, 2016)

zacnelson said:


> Alexander, I'm really enjoying the gradual process of this track being added to, and listening to it repeatedly with each variation and seeing it evolve. I think it's getting to the point where you might want to think about concluding the composition, there's only so long you can keep tinkering with variations on that same theme before it starts to get repetitive. I love all the colours in your brilliant orchestration, in particular I think the second half of the track really holds together beautifully, with the transitions between each section working so smoothly and gracefully.
> 
> As I've told you privately many weeks ago, there are still a couple of moments in the first half that don't work for me yet. At 0:29 when you repeat the theme, I think you need something on the first beat of the bar (a crash cymbal perhaps) just to announce the phrase a bit. And despite having listened about 10 times to your track, I never find the mood change at 0:41 to be satisfactory or organic, whereas later in the composition you managed such mood shifts with far greater success!
> 
> ...



Yeah you are right with the observations, not sure though how I do that. Regarding the length: The only way to make that piece even longer is to feature something different but still that is connected to the flair of the track. You need to create other ideas and derivations from it which I think in that case I did really enough here. So yeah either I find a way to build up or whatever and to create a cliffhanger ending etc.



Baron Greuner said:


> Alexander you are a Teuton! Some great ideas. Try a simple harp arp at 0.29 and keep me and Zac happy. You actually do this later on for a simple transition.



I added a little harp glissando there, I thought it was there somehow it wasn´t. Thank you.


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## Baron Greuner (Aug 2, 2016)

AlexanderSchiborr said:


> I added a little harp glissando there, I thought it was there somehow it wasn´t. Thank you.



You're a brave man!


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## David Stiles (Aug 2, 2016)

Nice work, Alexander! You've definitely nailed down the highly kinetic feel of an old school Hollywood score. I enjoyed listening to it quite a lot!


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## AlexanderSchiborr (Aug 4, 2016)

David Stiles said:


> Nice work, Alexander! You've definitely nailed down the highly kinetic feel of an old school Hollywood score. I enjoyed listening to it quite a lot!


Hi David!
Cool that you like it.
This morning I have composed and orchestrated more bars and finally I think I will build up the track to climax cliffanger thing, so this one is short before the end.

The new parts are very quite and total contrast to the very loud and fast paced sections before as I think the track needed at that point it bit to cool down and to give the listener a break.
Hope you guys dig the new parts as their repurpose the ideas from before but in a different way and with a different feel and mood.
I have to work on the transition though ecspecially to that quiter part.
The pianoparts at the end are a bit gibberish improvised shizzle wizzle.


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## zacnelson (Aug 4, 2016)

hehehe "shizzle wizzle" - I like that description! :D


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## AlexanderSchiborr (Aug 5, 2016)

zacnelson said:


> hehehe "shizzle wizzle" - I like that description! :D



Comes from Snoop Dogg?..Somewhere..hehe.

I think I will a few days of to gain a bit new energys for the last parts etc.


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## Kony (Aug 15, 2016)

Hi Alexander, I absolutely love this piece. 

I do agree with the earlier comment from Cass that this could have a climactic ending as opposed to fading off...? I think this would elevate the track considerably in my opinion. 

Snoop Dogg reference = fo shizzle ma nizzle haha :D


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## AlexanderSchiborr (Aug 17, 2016)

Hi Guys,

19 session days and a couple of thousand midi notes and controller curves later I am finally through the whole track _*for the first time*_ which I would like to present to you now. Now that I am a bit relieved my focus lays in your suggetions to work on. Thank you again for the people who chimed in and I hope you enjoy the track as a whole.


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## Kony (Aug 17, 2016)

Hi Alexander, 

I think this is excellent - orchestration/dynamics are flawless. My only (minor) quibble would be that the opening theme could have been more emphatic in the finale as the ending feels a bit sudden - that's just my opinion though. Also, it feels like the piece would go off in a more "romantic" direction in the softer sections but wasn't romantic enough for me. I still absolutely love this piece though - and only making some minor suggestions as opposed to just saying how great this already is  

Thanks for sharing!


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## Daisser (Aug 18, 2016)

AlexanderSchiborr said:


> Hi TGV,
> Cool. Mahler is definitely a big influence for me in general as I do transcribe by ear his voicing, style and chord progressions from his symphonies. Ecspecially I spent a lot of time with the 4th movement of his titan symphony. But my intention here was not so much mahler, maybe I already internalized that and do that. I think there is this buildup at 3:33 where i do this kind of halfstep modulation where you start at a note and then you ascend and descend at the time in halfsteps down and up. This is very common thing what he did in couple of symphonies. It builds up very much tension. Besides that you said the strings are bit too loud, I guess I like to hear them prominently and I think they are on a boarder of beeing still ok.
> 
> 
> ...




Gorgeous theme, excellent texture changes, nice dynamics, and great mastering. I felt Williams, Goldsmith, and Mahler all over the place in here but with a spark thats only yours . Well done, and your an inspiration for those like myself to keep working!


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## Ashermusic (Aug 18, 2016)

Remarkable, just remarkable.


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## AlexanderSchiborr (Aug 18, 2016)

Hi Guys,

@Ashermusic: Thank you. I am not sure about myself if that track is really a remarkable work, but what I know is that I always kick my own butt a lot to to create moments of what I think I like to listen to in music.
@jieff: Thanks to you a lot. Yes, I felt in the recent session pretty much the same about the that. Either Way: I think I could slightly lower the ambience for the brass because I think that would be the better choice regarding the style of the track rather than putting more reverb on the strings. It is often a struggle when the brass is too dry that the natural release trail sounds somehow too short, but I will tweak more on the mixing.
Thanks again to all who give me advice, help and that is what vi control is for me about: Getting good advice from other serious composers and working hard on myself.


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## AlexanderSchiborr (Aug 19, 2016)

@jieff 
Here is a slight different version considering the bespoken points from yesterday.

https://www.dropbox.com/s/ds39ixdmd...rr_That´s_not_the_real_Hollywood_V20.mp3?dl=0


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## AlexanderSchiborr (Aug 19, 2016)

@jieff
Thanks for all the tips. I tried fiddling around with the release times of the trumpets and shortened them a bit (from 700ms to somehow 340ms around), also I got back a bit the woodwinds. I do such things often with mocking up classical pieces when working on live references. Overall I think this latest version has a much more of an intimate scoring stage sound and character. You can hear a lof of freaking details now (or even more) either this is bad or good in regards that you have to work really really precise with every little controller curve, orchestrational device and all this details..drown into reverberation can cloud mistakes.

https://www.dropbox.com/s/npz5ujl3xowb7jg/Alexander_Schiborr_That´s_not_the_real_Hollywood_V21.mp3?dl=0

PS: The cat was quite cool )!

Just curious how the new Adventure brass would sound here...


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## Guy Bacos (Aug 23, 2016)

I listened.

Some fun stuff here. Good work on the orchestration and thematic ideas and nice development à bit on the cliché side, but cool, (JW forever  ) What left me cold was the atmosphere, I get the feeling you work a lot on making it sound clean with minimum reverb, much emphasis on EQ and balancing (which I admire you for) but somehow it leaves me with a dead ambience, to me it's like a plastic atmosphere, I'd like to have some sense of hall or room, I miss that a lot, kind of sterile. In that sense it sounds more midi to me and combined with the strings lacking character and expression, the weakest link by far in my opinion, the longer notes are kind of dead! However, the better elements stand out nicely and makes the piece flow. Well done.


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## AlexanderSchiborr (Aug 24, 2016)

Guy Bacos said:


> I listened.
> 
> Some fun stuff here. Good work on the orchestration and thematic ideas and nice development à bit on the cliché side, but cool, (JW forever  ) What left me cold was the atmosphere, I get the feeling you work a lot on making it sound clean with minimum reverb, much emphasis on EQ and balancing (which I admire you for) but somehow it leaves me with a dead ambience, to me it's like a plastic atmosphere, I'd like to have some sense of hall or room, I miss that a lot, kind of sterile. In that sense it sounds more midi to me and combined with the strings lacking character and expression, the weakest link by far in my opinion, the longer notes are kind of dead! However, the better elements stand out nicely and makes the piece flow. Well done.



Hey Guy,
Thank you for the ideas and words. When I have another session I will check out if I can somehow still tweak around the settings of reverb and that eq settings (I use them sparingly as a corrective tool).

Question: Which version are referring too? There are a couple of different ones now. The initial first soundcloud version was having definitely a tad more reverberation, this last DBox links were pretty much reduced testimonials to see what happens with more dry conditions, but still I prefer the initial Sc Link when it comes to ambience.

I am not that big fan of orchestral samples drown much into reverberation ecspecially with an occupied writing style. (clouding, soundpudding, overlapping of trails etc etc.) How much reverb is often of a personal taste and not that easy to match perfectly. I tend definitely to create my mockups with less reverb because it often starts to sound artificial to my ears ecspecially by trying to create deep space with it. To a certaint extent that does work but there is this _sweet spot_ which I have to hit and when it is too much, it is not convincing because then the sample response / source characteristic to the ear does not match the proximity characteristics which reflects in scale of the room and distance. (what a sentence...hope that make a bit sence)

Stylistically that track is surerly here and there cliche, the writing is very intentionally done though, some like that, some others have a good yawn because they miss the drums or find that cliché what I can truely understand as well. My idea was to create an energetic track with its story scored to picture without having a picture.


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## mac (Aug 24, 2016)

Pretty damn good this! Jaws meets Harry Potter meets ET


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## AlexanderSchiborr (Aug 30, 2016)

mac said:


> Pretty damn good this! Jaws meets Harry Potter meets ET



Hi Mac, 

Thank you! I am not familiar that much with the Harry Potter scores but definitely ET and Jaws. Great Soundtracks.


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## XiphiasAudio (Aug 31, 2016)

Hey Alexander, fantastic composition. Really enjoyable. I can hear that you've really made the samples your own dynamic expression so well done!

I'm sure that myself and others would love to have a follow along score if possible? I would love to study what you've done orchestrationally while listening to it!

Well done!


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## AlexanderSchiborr (Aug 31, 2016)

XiphiasAudio said:


> Hey Alexander, fantastic composition. Really enjoyable. I can hear that you've really made the samples your own dynamic expression so well done!
> 
> I'm sure that myself and others would love to have a follow along score if possible? I would love to study what you've done orchestrationally while listening to it!
> 
> Well done!



Hi Rowan,

There are still a lot of questions for myself and probably mistakes in the orchestrations I do. I didn´t worked that out for score sheets yet, maybe I should, don´t know really... I don´t feel that this should be at that point a guideline or study worth for other serious composers here. I am myself on a skilllevel where I would better recommend for you guys to study scores _from where I learn it from_ and that is Williams, Horner, Goldsmith and Silvestri.
Most of the chops I do in that piece here are not really outstanding, very basic in my opinion. In general I try to avoid experiments and put the instruments most of the time in their comfort zone. I think what makes the track lively is the fact that I ride _a lot the controllercurves so that the track is very dynamic and I vary a lot the tempo so that the tempo curve could be slight reminiscence of a conductor pace performance. I also perform every single line, nothing here is programmed, and I leave it like it is with all its "flaws". Don´t quantize..that is the biggest shit you can do to your performance. _


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## markleake (Aug 31, 2016)

Guy Bacos said:


> I listened.
> 
> Some fun stuff here. Good work on the orchestration and thematic ideas and nice development à bit on the cliché side, but cool, (JW forever  ) What left me cold was the atmosphere, I get the feeling you work a lot on making it sound clean with minimum reverb, much emphasis on EQ and balancing (which I admire you for) but somehow it leaves me with a dead ambience, to me it's like a plastic atmosphere, I'd like to have some sense of hall or room, I miss that a lot, kind of sterile. In that sense it sounds more midi to me and combined with the strings lacking character and expression, the weakest link by far in my opinion, the longer notes are kind of dead! However, the better elements stand out nicely and makes the piece flow. Well done.


Hi Alexander, I concur with Guy. I think you've written some nice stuff, obviously put a fair bit of effort into it, etc, if maybe a little busy. But just sitting back and listening to it, my ears are confused by the room. Some sounds are close and others are far, but somehow without much reverberation. Every time the bass drum hits my ears are suprised by how dead (in terms of ambience) the sound of it is, and I think maybe the same for the strings? I hope you don't take my comment as too negative, I do like what you've written.


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## AlexanderSchiborr (Aug 31, 2016)

markleake said:


> Hi Alexander, I concur with Guy. I think you've written some nice stuff, obviously put a fair bit of effort into it, etc, if maybe a little busy. But just sitting back and listening to it, my ears are confused by the room. Some sounds are close and others are far, but somehow without much reverberation. Every time the bass drum hits my ears are suprised by how dead (in terms of ambience) the sound of it is, and I think maybe the same for the strings? I hope you don't take my comment as too negative, I do like what you've written.



Hi Mark!
Sure no Problem. I appreciate always helpful comments. That was the reason why I asked Guy on which version his observations were aimed to. Because there is the old soundcloud linked version but 2 other dropbox link version testimonials with less hall. I didn´t got any reply so however. I think I used the bassdrum twice on the whole track. Yes, the reverberation isn´t that much ecspecially on the strings, but more on the brass section, but I am going to look up where that sonic room problems come from. I noticed that too (now) after I compared this track to my other demo track (Bedventure Hassles) which I did for adventure Brass. There is something about the room yes. Thank you.


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