# New OSR Cue "Onward to Victory" w/orch



## Frederick Russ (Jan 6, 2011)

I've thought about this and believe that this might be of some interest here on VI. Here is a new cue from a recent project using OSR in context with other symphonic sample libraries (which I would be happy to name if there is interest):

[flash width=550 height=110 loop=false]http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F8737465&secret_url=false[/flash]

As always, let me know what you think, thanks!


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## stonzthro (Jan 6, 2011)

Nice writing! Gets a little synthetic sounding about 1:05 - where the strings just take over - but very nice work!


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## Guy Bacos (Jan 6, 2011)

Good work! Sounds very good Frederick. Very consistent. Nice balance with the brass. Starting at 1:15 a few harsh moments with the strings. I'm wondering if they're not playing too loud at that speed, something unnatural once we hear them alone. However, it sounds full, and great writing!


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## Frederick Russ (Jan 6, 2011)

Thanks! I appreciate the comments and suggestions. Also, thanks for taking the time to listen.


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## Ryan Scully (Jan 6, 2011)

This is an awesome cue Frederick - really loving what I've heard from the capabilities with OSR! Are you using Cinematic Strings here as well??


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## Hendrik-Schwarzer (Jan 6, 2011)

Hey Frederick,

your composition sounds really great and I think you completely understood how you can use OSR on a very professional way.

Thanks for posting this. 

All the best and a happy new year,

Hendrik


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## Frederick Russ (Jan 6, 2011)

Thanks! Yeah CS is being used - just 1st violins legato sustains later in the piece although it could have been expanded were it not for ending up using CineOrch in one small section of the cue. I actually prefer scoring everything out but ran into time constraints so it filled in instead.

edit: Thanks Hendrik! Means a lot coming from an accomplished composer such as yourself.


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## germancomponist (Jan 6, 2011)

This sounds very good to my ears! 

Nice writing and arrangement, too, Frederick. Well done!


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## Lunatique (Jan 8, 2011)

I don't know the context of the cue, so I can't say for sure, but as a piece of music, it gets fatiguing to have it just keep going full-strength like that for so long, with no real change of pace/dynamics. Maybe that's exactly what's needed for the accompanying images, but without seeing it with the music, there's no way to know.


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## Farkle (Jan 8, 2011)

Frederick, great cue! Nice use of the space, it feels very open and spacious, and the OSR bring some excellent drive to the piece.

Not to "not focus on" the OSR, because they do sound amazing (in fact, I think I'm going to get them before my next project), but I was particularly taken with how robust and "sitting in the mix" your brass sounds. May I ask for some thoughts and advice about your brass? It sounds like you are using Vienna Symphonic Library, but how do you get it to sit "back in the orchestra", and, at the same time, punch through the mix with space and power?

My brass mixing is definitely my weak spot now, so any help would be appreciated!

Thank you, Frederick, and thank you for sharing this excellent cue!

Mike


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## Frederick Russ (Jan 8, 2011)

Thanks guys for your kindness, your comments and critiques!



Lunatique @ Sat Jan 08 said:


> I don't know the context of the cue, so I can't say for sure, but as a piece of music, it gets fatiguing to have it just keep going full-strength like that for so long, with no real change of pace/dynamics. Maybe that's exactly what's needed for the accompanying images, but without seeing it with the music, there's no way to know.



Good point Lunatique and actually you mirrored an objection I had to the music editor who basically wanted it like this. An earlier version with the dynamics you mentioned didn't work for him - go figure. In the end, the client makes the call.

@Farkle: I'm just following a technique which is widely used to get things like brass to sit better. 

The moment you begin to mix different sample libraries, you'll notice that each one has a different room signature which have to do with early and loose reflections. Some libraries have this missing; others have it built in. One thing to keep in mind is that if you're standing in a room with an orchestra say at the 3rd row, the strings are going to be closer to you although they still excite the room via ER & LR. Winds usually sit behind them and brass spread out across the stage with percussion sitting at the back of the stage. Each instrument section excites the room differently - in mockup circles, one job is to make the percussion sound further from you and the strings closer. Brass sits somewhere in between. Looking at orchestral seating charts help as well as listening to real orchestral recordings. IR libraries help as well as the use of delays in some instances to define each section in perceived distance from the conductor.

@Noiseboyuk: OSR was basically developed to do string runs and occasional figures in conjunction with other string libraries. Basically I'm stretching its intended target by seeing how much of it can handle string chores. I think it definitely can work alone but again the vision was to have it in addendum to other string libraries that need smeared runs and some programmable figures. This OSR version is the first; I'm sure other versions will follow. Tempo admittedly needs to be watched closely for the best results.


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## George Caplan (Jan 8, 2011)

i like the big build up.


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## Dracarys (Jan 8, 2011)

Sounds great, maybe the main strings should stand out more at times, they seem to drift off as more instruments conflict.
Brass is steller.
I guess you could say it's repetitive, but sometimes it's necessary and works.
Nice job Frederik and that's for the warm welcome to Vi-Control.
Feel free to critique my thread.


Happy new year!


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## Alex Temple (Jan 9, 2011)

Fun piece! I like pieces that maintain a single idea from beginning to end, when done well. That said, my favorite part is at the very end, when you switch away from strict 6/8 and introduce elements of 4/4. 8)


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## Frederick Russ (Jan 9, 2011)

Thanks guys! @Alex: that really means a lot coming from someone with your level of talent and mock up chops. (I'm a fan). Hope to hear something new from you soon.


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## Rob (Jan 10, 2011)

I find this a great cue, both as a composition (it's less predictable than most of them, and has a happy and sincere feeling than is rare imo) and as a performance, chapeau!


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## Daniel (Jan 10, 2011)

this cue is full of hope to me to reach my dreams to be a prof composer like members here, especially like Frederick.
thanks for sharing this superb cue Frederick...... like this very much

Best,
Daniel


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## Frederick Russ (Jan 10, 2011)

Rob, Daniel, thanks so much guys!


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## Farkle (Jan 14, 2011)

Frederick,

Just wanted to thank you for the response you gave my query re: early reflections, and taking the time to upload an orchestra seating chart. Your post gave me some good ideas on how to increase the "air and space" of my mockups.

Gracias! 

Mike


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## Frederick Russ (Jan 17, 2011)

Thanks Mike! I'm open to suggestion as always especially from someone of your league. I really appreciate your help and you even taking the time to do so as I'm really wanting to improve orchestration. Also - looking forward to your new LA recordings, sounds exciting!


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