# The Tachyon Blaster - Orchestral (Midi Orchestral Download available)



## AlexanderSchiborr (Jan 6, 2017)

Hi Guys,

Happy new year to you all.

Here is a little occupied dramatic all over the place written piece which I did over the last 2-3 days.

The quite part at the end initiates a second part which will follow the next days.



Any thoughts on sound, mix and well anything you have in mind?

Edit: Down in the thread some of the later part arrangements, see also here:


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## Saxer (Jan 6, 2017)

Wow! Fine action stuff!


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## byzantium (Jan 6, 2017)

Happy New Year to you. Fantastic stuff! What libs are you using?


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## Andrajas (Jan 7, 2017)

you got some awesome chops!  May I ask what your approach to the reverb was?


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## AlexanderSchiborr (Jan 7, 2017)

byzantium said:


> Happy New Year to you. Fantastic stuff! What libs are you using?



Thank you 
I am using here Spitfire Symphonic Strings, Brass, Woodwinds, PRC.



Andrajas said:


> you got some awesome chops!  May I ask what your approach to the reverb was?



No Reverb used here. Just built in micing faders Plus corrective EQ to shape the room




Saxer said:


> Wow! Fine action stuff!



Cool, that you like it. Thanks!


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## jononotbono (Jan 7, 2017)

Really good man! Happy New Year!
How do you create such fast String runs? I avoid doing this at the minute because it always ends up sounding so fake for me! And my dexterity of playing can never play that fast so I wonder do you play it in or draw in the notes? Or play it in half speed? Sorry, you don't have to give your tricks away haha! Sounds excellent! Maybe a couple of Braams are needed? Joke.


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## byzantium (Jan 7, 2017)

Looking forward to the second part - the strings and woodwinds right at the end sound amazing. That's a lot of notes in under two minutes! SCS seems to have a little bit of trouble with the extremely fast stuff? (well doesn't every lib I guess).

I'd be interested in your composition process - do you tend to establish a rough harmonic outline of some kind and then fill in / improvise around that, or do you tend to invent melodic / rhythmic lines and supporting lines (horizontally) and see where that takes you ? (or other!). Cheers for sharing.


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## Andrajas (Jan 7, 2017)

AlexanderSchiborr said:


> No Reverb used here. Just built in micing faders Plus corrective EQ to shape the room



Just what I thought! I liked it!


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## AlexanderSchiborr (Jan 7, 2017)

jononotbono said:


> Really good man! Happy New Year!
> How do you create such fast String runs? I avoid doing this at the minute because it always ends up sounding so fake for me! And my dexterity of playing can never play that fast so I wonder do you play it in or draw in the notes? Or play it in half speed? Sorry, you don't have to give your tricks away haha! Sounds excellent! Maybe a couple of Braams are needed? Joke.



Thank you, Jono. 

Well I created them with the performance legato patch of SSS. What I do here is to record little chunks of the runs e.g. for the 1st Violins and then the next part, then I move the midi data to correct some timings, sure I can´t play them at that speed. Then I do the same for the second 2nd Violins. To get the that blurry effect more effective I let them start all at different timings.

We need definitely some more braams :D

I mean I have that spitfire libraries only for 2 days, so I am still in learning how to use them.


byzantium said:


> Looking forward to the second part - the strings and woodwinds right at the end sound amazing. That's a lot of notes in under two minutes! SCS seems to have a little bit of trouble with the extremely fast stuff? (well doesn't every lib I guess).
> 
> I'd be interested in your composition process - do you tend to establish a rough harmonic outline of some kind and then fill in / improvise around that, or do you tend to invent melodic / rhythmic lines and supporting lines (horizontally) and see where that takes you ? (or other!). Cheers for sharing.




Yes, I first write on piano a short idea / composition which is a blueprint for the track. That helps me not to get lost totally, because writing such things directly with orchestra is a kinda not possible for me. So always I first sketch out an idea with basic chords, melody and bass notes.

In the Mid parts for instance the agile violins are just outlining the chord structure (around 1 minute etc). 
These agile runs were not part of the sketch but added later.


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## jononotbono (Jan 7, 2017)

AlexanderSchiborr said:


> Well I created them with the performance legato patch of SSS



I have SCS and love it so much. SSS will be my next purchase for sure. Andy Blaney is an absolute legend for these performance patches. Just brilliant!


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## novaburst (Jan 7, 2017)

AlexanderSchiborr said:


> Hi Guys,
> 
> Happy new year to you all.
> 
> ...




nice way to start the year @AlexanderSchiborr great piece great adventure, cant wait for the next piece and to listen to the whole piece at once.

Just a thing starting at 1.06 you have trumpets doing a group of staccatos there are about 3 or for groups in that section of the piece, the sound is very even and a little fast giving off a machine effect, as opposed to a human effect, that's my feel anyway.

Cant wait for the next piece, nice year for you too


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## AlexanderSchiborr (Jan 8, 2017)

novaburst said:


> nice way to start the year @AlexanderSchiborr great piece great adventure, cant wait for the next piece and to listen to the whole piece at once.
> 
> Just a thing starting at 1.06 you have trumpets doing a group of staccatos there are about 3 or for groups in that section of the piece, the sound is very even and a little fast giving off a machine effect, as opposed to a human effect, that's my feel anyway.
> 
> Cant wait for the next piece, nice year for you too



Thank you for mentioning these spots, I will look into them. Have the libraries for a few days right now and still need to get to know their characteristics better.


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## AlexanderSchiborr (Jan 8, 2017)

Ok, guys, this afternoon I continued the piece, so everybody who is tired of the first 1 1/2 Minutes can skip to 1:42 around. I tried for the second part something more atmospheric and more ear relaxing still trying to stay in the mood of the piece. Thoughts, and critics are always appreciated. 

@novaburst : I do the trumpet multitongues tomorrow..

https://www.dropbox.com/s/dpw2fb2ar...Tachyon_Blaster_Orchestral_Version_4.mp3?dl=0


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## cheul (Jan 8, 2017)

Very impressive as always. Hope to see how it's made someday.


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## novaburst (Jan 8, 2017)

Great move with the end @AlexanderSchiborr went from start to end, the mix is great too instruments coming through very clear (clarity) I think your trademark move was at 1.23 loved it.......


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## Kony (Jan 9, 2017)

Excellent as always Alexander. This is great as it is and I'm keen to hear how it continues.

EDIT: Just heard the extended dropbox version and really like how it drops down but keeps the vibe going.


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## AlexanderSchiborr (Jan 9, 2017)

Kony said:


> Excellent as always Alexander. This is great as it is and I'm keen to hear how it continues.
> 
> EDIT: Just heard the extended dropbox version and really like how it drops down but keeps the vibe going.



Thanks my friend


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## AlexanderSchiborr (Jan 9, 2017)

jononotbono said:


> I have SCS and love it so much. SSS will be my next purchase for sure. Andy Blaney is an absolute legend for these performance patches. Just brilliant!





cheul said:


> Very impressive as always. Hope to see how it's made someday.






byzantium said:


> Looking forward to the second part - the strings and woodwinds right at the end sound amazing. That's a lot of notes in under two minutes! SCS seems to have a little bit of trouble with the extremely fast stuff? (well doesn't every lib I guess).
> 
> I'd be interested in your composition process - do you tend to establish a rough harmonic outline of some kind and then fill in / improvise around that, or do you tend to invent melodic / rhythmic lines and supporting lines (horizontally) and see where that takes you ? (or other!). Cheers for sharing.




So some of you guys asked about the process and how I do this and that. So I decided to share a bit of my workflow.

Please open this link:

https://www.dropbox.com/sh/1p6u2rv84qarp5s/AAAMfJwYHc9aON2d4qsz6dY8a?dl=0

No.1

There you will first the Piano Idea. At that point later in the orchestral I wanted to create some intense dissonance because dramatic wise I had something in mind that there is a chaotic point where the Taychon Blaster is firing up the enemies.So, first listen to the piano idea which is the blueprint for the later orchestration.
In the upper registers I play this chromatic, partwise diminished fast agile line while in the lower registers I have this chords holding, but giving a rhythmic element to it.

No.2
So first I was thinking about ok, I want really up there this melody be piercing and furious sounding. So first I sequenced the Violins 1, which are played not too loud at forte but a little below. I tend to ride the modwheel how I feel and want to let sound the line.

No.3
So then I added for loudness the Violins 2 playing unison with the Violin 1

No.4

Here you can hear how they sound together, Violins 1 + 2

No.5

Now I wanted to have a bit more bottom end and bit of a stretched octavery texture to the line, so I decided to add the vloas complementing the Vlns 1+2 and octave below. The reason is that the Vloas have still some good sound in that range, I could add them also in unison, but why I didn´t? Because 2 things:
First I step into problems that they are getting out of the playable range, second they don´t add anything good to the violins in the range. The Violins 1+2 are already powerful enough there.

No.6

Here you can hear the Violins 1+2 + Violas together.

No.7

So then I thought how to add color to the Violins in that range, so my conclusion were only the Flutes and Piccolo could do that. So here I decided to add the Flutes as soft sweetener and coloring to the Violins 1+2 to play unison with them.

No.8

The Piccolo I added on top an octave above because there the picc starts to sound piercing and gives the whole sound a stretched alarming character which you can hear in

No.9

Flutes and Picc together and finally

in
No.10

Strings + Woodwinds

No. 11

So now I thought about the rhythmic figure down there what to do with it. In that range Horns and Trombones are bit too watery sounding for my taste and you step into intonational problems, so the trumpets would rule the best. As I wanted that very rhytmically as a counterpart to this fluid upper agile String and Woodwind lines, I thought to use multitongued trumpets creating the clustery rhythm.

No. 12

Tamm Tamm and Cymbal

No. 13

Strings, Winds, and Trumpets

No. 14

Everything together.

Hope that helps a bit? If you like I can also share other parts..


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## AlexanderSchiborr (Jan 9, 2017)

And here is this example with some context, first on the horns and trombones at 7 seconds, then as a repitition directly folowing only Trombones horns playing, then the bespoken part, and then I take the idea and try to mutilate the orchestra with that idea, there is some very basic counterpoint or parts ongoing. So I hope you dont get lost.


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## byzantium (Jan 9, 2017)

Thanks so much Alexander for taking the time out to post all those MP3s snippets, highlighting the process you used for a section of the Tachyon Blaster, from initial piano sketch and then adding instruments layer by layer. It's much appreciated, very instructive and interesting. 

As you were kindly asking (!), I think it would be really interesting to hear (if you have it and wouldn't mind posting it?) the full piano sketch for the entire piece - just to hear how much you might typically do on the piano before you start orchestrating it, and I guess what one might need to be hearing in one's head (i.e. what it might become) while coming up with the piano part...

Thanks again, it's very instructive and helpful and in the spirit of VI-control !


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## novaburst (Jan 9, 2017)

byzantium said:


> Thanks again, it's very instructive and helpful



+1


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## artomatic (Jan 9, 2017)

Incredible work and insight!


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## AlexanderSchiborr (Jan 10, 2017)

byzantium said:


> Thanks so much Alexander for taking the time out to post all those MP3s snippets, highlighting the process you used for a section of the Tachyon Blaster, from initial piano sketch and then adding instruments layer by layer. It's much appreciated, very instructive and interesting.
> 
> As you were kindly asking (!), I think it would be really interesting to hear (if you have it and wouldn't mind posting it?) the full piano sketch for the entire piece - just to hear how much you might typically do on the piano before you start orchestrating it, and I guess what one might need to be hearing in one's head (i.e. what it might become) while coming up with the piano part...
> 
> Thanks again, it's very instructive and helpful and in the spirit of VI-control !



Hi,
Well yeah I might or should do that. There is too less information out there regarding that I guess, I am myself searching those things, so I guess that would be helpful for you and other here. It takes a bit work though, lets see if I find tomorrow some time. But I consider that in mind.

Thank you for the nice words.

PS:That track is the first track I ever wrote with that samplers, so they are very new to me (4 days) and I still have to learn to use them. So hopefully better things to come in the future regarding realistic arrangement and sound.


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## byzantium (Jan 10, 2017)

Thanks Alexander, much appreciated.


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## zacnelson (Jan 10, 2017)

Thanks for all the info! Such a tremendous composition. It's great to know that you didn't require any added reverb at all.


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## ctsai89 (Jan 10, 2017)

WOW.. mind blown. 

which mics did you use?


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## ctsai89 (Jan 10, 2017)

and which brass patches are you using for the trombones and horns/trumpets. sounds a lot like ur using a6?


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## AlexanderSchiborr (Jan 10, 2017)

ctsai89 said:


> WOW.. mind blown.
> 
> which mics did you use?



I used here a mix of the tree and ambient mics, Tree mics are around at 80%, and the ambients are around at 60%. Sometimes I altered this settings with a few patches where I felt they sound not in place right even if I use the same settings, I think it was for the lower brass like the Bass trombones where I added more ambience because I felt with the same settings they sounded too upfront.

But to say: I did a bit of corrective eq mostly on the strings and High Woodwinds. Where mainly other people push the eq fader up, I did it the other way down because we are working here not with a real orchestra, but with samples, and when you add to the violins 2 on top of the violins 1, it often ends up that the very high frequencies and air of the "doubled" room is just too prominent in regards of the perceived real distance also in reagrds of size from the recording hall. So imo you should gently lower this high frequences, which has 2 good things: First the impression of distance becomes more realistic and secondly they tend to sit much better in the mix, even more audible when they play in the upper ranges.



ctsai89 said:


> and which brass patches are you using for the trombones and horns/trumpets. sounds a lot like ur using a6?



For this fanfarish parts I used most of the time the Fanfare A6 patches for trumets, Horns and Trombones.
But don´t forget to ride the modwheel and get familiar with the way how the different velocities create different kind of short notes and the long notes at higher velocities. First I played a lot around with the fanfare patches to get a feel how the respond to my playing. I guess it is good exercise to know their intention. And when you are familiar you have a really powerful patches to let sculpture pretty easily such
parts.

In addition I added more to those parts, like a bass trombones an octave below, complemented by a tuba and sometimes the contrabass tuba. There is this one spot at 1:40 where you can here, that in the repetition short later it gets even more intense just because I added another instrument vertically on top of the line, in that case the contrabass tuba accenting the low bass notes of the tuba & Tn Trombones.


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## ctsai89 (Jan 10, 2017)

AlexanderSchiborr said:


> I used here a mix of the tree and ambient mics, Tree mics are around at 80%, and the ambients are around at 60%. Sometimes I altered this settings with a few patches where I felt they sound not in place right even if I use the same settings, I think it was for the lower brass like the Bass trombones where I added more ambience because I felt with the same settings they sounded too upfront.
> 
> But to say: I did a bit of corrective eq mostly on the strings and High Woodwinds. Where mainly other people push the eq fader up, I did it the other way down because we are working here not with a real orchestra, but with samples, and when you add to the violins 2 on top of the violins 1, it often ends up that the very high frequencies and air of the "doubled" room is just too prominent in regards of the perceived real distance also in reagrds of size from the recording hall. So imo you should gently lower this high frequences, which has 2 good things: First the impression of distance becomes more realistic and secondly they tend to sit much better in the mix, even more audible when they play in the upper ranges.
> 
> ...



Thank you, great detailed explanations from the maestro!


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## AlexanderSchiborr (Jan 11, 2017)

byzantium said:


> Thanks so much Alexander for taking the time out to post all those MP3s snippets, highlighting the process you used for a section of the Tachyon Blaster, from initial piano sketch and then adding instruments layer by layer. It's much appreciated, very instructive and interesting.
> 
> As you were kindly asking (!), I think it would be really interesting to hear (if you have it and wouldn't mind posting it?) the full piano sketch for the entire piece - just to hear how much you might typically do on the piano before you start orchestrating it, and I guess what one might need to be hearing in one's head (i.e. what it might become) while coming up with the piano part...
> 
> Thanks again, it's very instructive and helpful and in the spirit of VI-control !



Hi there,
like I promised here is the sketch not of the whole piece but some bars from the beginning. And there you can hear it. Excuse my slouchy playing...



and for the comparison the orchestral:


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## rainierjmartin (Jan 11, 2017)

How would you compare your CSS/Adventure Brass workflow from your previous compositions to the Spitfire-only template?


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## byzantium (Jan 11, 2017)

Thanks so much Alexander, this is completely fascinating stuff - to hear the development from piano outline to orchestrated version. (And I wish I could play that slouchily!). Many thanks again. 



AlexanderSchiborr said:


> Hi there,
> like I promised here is the sketch not of the whole piece but some bars from the beginning. And there you can hear it. Excuse my slouchy playing...
> 
> 
> ...


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## AlexanderSchiborr (Jan 11, 2017)

rainierjmartin said:


> How would you compare your CSS/Adventure Brass workflow from your previous compositions to the Spitfire-only template?



It is definitely more work and a more comprehensive library, hard to compare. Adventure brass is much easier to handle in terms of playability. Well, I would say: If you need some basic good sounding brass library where you need to create fast results go by adventure brass. Sound great and easy to handle but limited in terms of dynamic and choice of instruments. When you want to mockup big comprehensive detailed orchestral sounds, then spitfire shines like ..almost nobody else. I don´t have Berlin Brass (yet..first no more money left right now) so I am careful to generalize things.
What the Spitfire Brass is enourmous is about the sound and depth and extreme dynamics what you can create with. At some points I felt it just knocked my sonically wise from my chair when listening to some of the brass sections in my piece.
But you need to put a lot more work into detail, you have more instruments, more patches, just much more to create in terms of "brass" color: This brass is not for beginners, it is a serious composing tool and needs a lot of dedication.


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## ctsai89 (Jan 11, 2017)

AlexanderSchiborr said:


> It is definitely more work and a more comprehensive library, hard to compare. Adventure brass is much easier to handle in terms of playability. Well, I would say: If you need some basic good sounding brass library where you need to create fast results go by adventure brass. Sound great and easy to handle but limited in terms of dynamic and choice of instruments. When you want to mockup big comprehensive detailed orchestral sounds, then spitfire shines like ..almost nobody else. I don´t have Berlin Brass (yet..first no more money left right now) so I am careful to generalize things.
> What the Spitfire Brass is enourmous is about the sound and depth and extreme dynamics what you can create with. At some points I felt it just knocked my sonically wise from my chair when listening to some of the brass sections in my piece.
> But you need to put a lot more work into detail, you have more instruments, more patches, just much more to create in terms of "brass" color: This brass is not for beginners, it is a serious composing tool and needs a lot of dedication.



agreed. spitfire is definitely not for beginners at all and certainly not easily wielded for anyone that's new to the whole spitfire game. 

Spitfire brass is also difficult if you wanted to mockup some late-romantic classical symphonies or any of those kind where you take a score and try to recreate everything from a computer alone. Why?
Because while the a6 patches have very good performance legato patches that deals with all the dynamics, the solo and a2 patches often lack anything or anything more than fortissimo in some sustain and almost all the legato patches. Spitfire has state they will update on this soon, and i'm just waiting.


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## AlexanderSchiborr (Jan 11, 2017)

ctsai89 said:


> agreed. spitfire is definitely not for beginners at all and certainly not easily wielded for anyone that's new to the whole spitfire game.
> 
> Spitfire brass is also difficult if you wanted to mockup some late-romantic classical symphonies or any of those kind where you take a score and try to recreate everything from a computer alone. Why?
> Because while the a6 patches have very good performance legato patches that deals with all the dynamics, the solo and a2 patches often lack anything or anything more than fortissimo in some sustain and almost all the legato patches. Spitfire has state they will update on this soon, and i'm just waiting.



Oh, I didn´t know that, so they said that are gonna to work on an update? 

@Andy B First of all: I heard that you are a big part of the design and coding. Great astonishing library. Very impressive what you did there. Can you maybe say if there are any plans regarding an update?


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## ctsai89 (Jan 11, 2017)

AlexanderSchiborr said:


> Oh, I didn´t know that, so they said that are gonna to work on an update?
> 
> @Andy B First of all: I heard that you are a big part of the design and coding. Great astonishing library. Very impressive what you did there. Can you maybe say if there are any plans regarding an update?



in another forum that i started, i think they said they were considering it. Not sure what the exact words were. But if you go to teh spitfire webpage on the SSB page and scroll down, there seems to be some new legato patches for trombones coming in the next update. But i have my fingers crossed because i want the full range of dynamics for all solo legatos.


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## AlexanderSchiborr (Jan 12, 2017)

Hey guys, here is the latest version, almost at the end of the track. My head is swirling, I need some beers..seriously..such writing is really exhausting like hell.

https://www.dropbox.com/s/og59irldg...r_The_Tachyon_Blaster_Orchestral_v10.mp3?dl=0

Here is picture by the way of the midi data..


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## ctsai89 (Jan 12, 2017)

AlexanderSchiborr said:


> Hey guys, here is the latest version, almost at the end of the track. My head is swirling, I need some beers..seriously..such writing is really exhausting like hell.
> 
> https://www.dropbox.com/s/og59irldg...r_The_Tachyon_Blaster_Orchestral_v10.mp3?dl=0
> 
> Here is picture by the way of the midi data..



do you ever divisi straight from the a6 patches? if so do you drop its volume or just leave it as it is?


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## AlexanderSchiborr (Jan 12, 2017)

ctsai89 said:


> do you ever divisi straight from the a6 patches? if so do you drop its volume or just leave it as it is?



Well.."depends" on. I have parts where I used a mix of a2 patches and solo patches for the kind of part writing, or just when I am doing chords on brass. For instance the first few bars is a mix of the fanfare patches and the solo patches, so when I have a chord with 3 voices I put the top note in the fanfare patch and the rest underpinning harmony in the solo or a2 patches, then I fiddle around with the dynamics until I hear the "right" balance in the chord. I can export a few things if you have section where you want to know how I did that. Just let me know, my friend.
I mean if anybody is interested I can export the whole orchestral midi data with descriptions of the instruments for you guys here.


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## AlexanderSchiborr (Jan 12, 2017)

Well I know could replace some of the tuttis in my tracks with Spitfires Masse Library. Not sure how that will end up sounding, but so far what I just played on those masse library patches, it is a killer complementing for a few sections my track. I need more beer. 
Unbelivable day. First the track is finished then spitfire spits out their new Symphobian kind of flagship out of the dust.


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## zacnelson (Jan 12, 2017)

AlexanderSchiborr said:


> Unbelivable day. First the track is finished then spitfire spits out their new Symphobian kind of flagship out of the dust.


LOL! You need a good long sleep


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## Iskra (Jan 12, 2017)

AlexanderSchiborr said:


> I mean if anybody is interested I can export the whole orchestral midi data with descriptions of the instruments for you guys here.


That would be very interesting as process insight. So I'm for one interested


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## Strassenkater (Jan 13, 2017)

I'm also very curious.
I hope, i won't get killed.


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## AlexanderSchiborr (Jan 13, 2017)

Iskra said:


> That would be very interesting as process insight. So I'm for one interested





Strassenkater said:


> I'm also very curious.
> I hope, i won't get killed.



Over the weekend I am going to render a midi File out of the project with all the instrument labeled and organized in structure, so you can take a look and hopefully get something out of it. 

here is the whole piece btw: 



Thanks again to everybody who chimed in here and Happy Weekend to every single one of you guys.

-Alex


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## cheul (Jan 13, 2017)

Really impressive Alexander, and thank you for sharing a bit of your craft. Regarding the first tidbit, that sort of diminished running melody in the top range, you do carry it around sections and ranges of the orchestra... did you actually develop it on the piano fully first, testing it in different ranges or you just took that first melodic idea and scattered it here and there directly at the orchestration step ?


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## byzantium (Jan 13, 2017)

Yes very interested Alexander to hear more if you can, thanks very much again.


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## robharvey (Jan 13, 2017)

Lovely work Alex!


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## novaburst (Jan 13, 2017)

AlexanderSchiborr said:


> Hey guys, here is the latest version, almost at the end of the track. My head is swirling, I need some beers..seriously..such writing is really exhausting like hell.
> 
> https://www.dropbox.com/s/og59irldg...r_The_Tachyon_Blaster_Orchestral_v10.mp3?dl=0
> 
> Here is picture by the way of the midi data..



Nice work @AlexanderSchiborr


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## AlexanderSchiborr (Jan 14, 2017)

Hi Guys, 
So like promised here is the midi orchestral export file with all its modulations and dynamic curves, and descriptions what patches I used. 
You can also see the tempo curve. 
DL Link:

https://www.dropbox.com/s/k1odjs1pz3luter/AS_Tachyon_Blaster_Orchestration_Midi_Export.mid?dl=0

So basically if someone of you has access to the spitfire orchestra, you can just load in the patches and it should work. Even if not you can take other libraries like Berlin Strings, Brass, or stuff from eastwest. Though then I would advice you to rework the Controller Curves a bit..


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## Hans Jonathan (Jan 14, 2017)

Great tracks I really like them! Reminds me of Star Wars.


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## AlexanderSchiborr (Jan 14, 2017)

Yes, definitely a noob star wars impression when you ask me :D At least I didn´t feature any of those famous bits of Williams in that track. 
However where I struggle most is not to at all come up with an idea, but to repurpose and develop those ideas. That is always a major part of my training, and it is always a hard thing for me to do. You know: Where is the point where it is not a development and just a repetition of what you have already said a couple of times, this is a fine line for me. Also voice leading wise, my track has some quirks regarding that, not to mentioned some of the structural flaws.


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## Hans Jonathan (Jan 14, 2017)

Have you seen the Mike Verta videos on John Williams? If not I totally recommend them! His early music wasn't that successful and for his early successful stuff he was leaning heavily on other film composers to the point where it was totally obvious. 
I think this piece would work more or less perfect in the right context. It sounds like an action cue with constantly changing scenes. 
Regarding voice leading I think we classically inspired composers are too hard on our selves. Today the general public is not trained like they were at the time of Bach. Even in Mozart's time some composers started using parallel fifths, and in the 19th century you can definitely find major romantic composers who use them. But I can't hear that you are breaking any rules?


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## AlexanderSchiborr (Jan 16, 2017)

byzantium said:


> Yes very interested Alexander to hear more if you can, thanks very much again.





Strassenkater said:


> I'm also very curious.
> I hope, i won't get killed.





Iskra said:


> That would be very interesting as process insight. So I'm for one interested





cheul said:


> Really impressive Alexander, and thank you for sharing a bit of your craft. Regarding the first tidbit, that sort of diminished running melody in the top range, you do carry it around sections and ranges of the orchestra... did you actually develop it on the piano fully first, testing it in different ranges or you just took that first melodic idea and scattered it here and there directly at the orchestration step ?



Hi Guys, the midi is online. There you will more answers in it. .


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## Iskra (Jan 16, 2017)

Many thanks Alexander, I downloaded it and looking forward to check it later. Many thanks for taking the time and be so kind to share so much about your piece!


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## fido94 (Jan 7, 2018)

@AlexanderSchiborr - any chance you can re-upload the mp3 and midi files? I would love to check them out

Thanks!!


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## Paul T McGraw (Jan 8, 2018)

@AlexanderSchiborr it has been an entire year since you produced your marvelous "Tachyon Blaster" and I continue to be amazed at your composing chops and midi-performance skills. To my ears, the greatest weakness in the all Spitfire setup is the woodwinds. But I love the sound of the woodwinds and would have liked to hear more of them, so perhaps I am mistaken. I really like the sound of the brass and strings, especially the strings. You did an awesome job with the strings.


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## Thorsten Meyer (Jan 8, 2018)

Happ New Year Alexander, what a great start.


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## AlexanderSchiborr (Jan 8, 2018)

Thorsten Meyer said:


> Happ New Year Alexander, what a great start.



Hi Thorsten. I wish you also a Happy New Year and thank you that you enjoyed. It is actually the year before, so early 2017 when I did the track.


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## AlexanderSchiborr (Jan 8, 2018)

I also will render a new midi for you guys, I don´t have it anymore. And I post the full version of the track because it is not online anymore. That was the first track I did with the spitfire orchestra, so at that point I just had it a few days. Also I will try to improve some mixing. I have also found the 2 handed piano version of it. At least for some bars. If anybody interested..let me know. The Rest I will upload in half an hour.


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## AlexanderSchiborr (Jan 8, 2018)

I was faster than I thought lol. so here: 

Midi Export of the orchestra with all controller curves included. You should maybe delete them if you want to mock it up with other samples. 

https://www.dropbox.com/sh/euszj5rtxx4gk3m/AAAQhmk2cSUrRFlptbbq_DjMa?dl=0

The Folder contains also the full version and a few bars of the piano reduction.


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## Rudankort (Jan 8, 2018)

AlexanderSchiborr said:


> I was faster than I thought lol. so here:
> 
> Midi Export of the orchestra with all controller curves included. You should maybe delete them if you want to mock it up with other samples.
> 
> ...



Alexander, you are not only a great composer, but also a very generous person. Thanks a lot, and happy New Year!


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## AlexanderSchiborr (Jan 8, 2018)

Rudankort said:


> Alexander, you are not only a great composer, but also a very generous person. Thanks a lot, and happy New Year!



Great and thank you. I don´t think I am that much but great you have some fun and hopefully get something out of it. Cheers


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## AlexanderSchiborr (Jan 8, 2018)

Paul T McGraw said:


> @AlexanderSchiborr it has been an entire year since you produced your marvelous "Tachyon Blaster" and I continue to be amazed at your composing chops and midi-performance skills. To my ears, the greatest weakness in the all Spitfire setup is the woodwinds. But I love the sound of the woodwinds and would have liked to hear more of them, so perhaps I am mistaken. I really like the sound of the brass and strings, especially the strings. You did an awesome job with the strings.



Yes the woodwinds are not made for fast agile slurred run lines lets put it this way. They didn´t recorded with the winds the typical slurrish transitions or scripted something. So actually to make that better I would say you have to layer those lines probably with trills minor and major seconds which I often do. Also with strings you can do runs layering repetition cluster patches like I did in the other piece from Rossini.


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## Ben E (Jan 12, 2018)

AlexanderSchiborr said:


> Where mainly other people push the eq fader up, I did it the other way down because we are working here not with a real orchestra, but with samples, and when you add to the violins 2 on top of the violins 1, it often ends up that the very high frequencies and air of the "doubled" room is just too prominent in regards of the perceived real distance also in reagrds of size from the recording hall.


Oh man, thanks! I do this for winds but have never done it for V1 and V2. Even though I've been bothered by the high end just as you say. Thank you for this!


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## Vladimir Bulaev (Jan 13, 2018)

AlexanderSchiborr said:


> I was faster than I thought lol. so here:
> 
> Midi Export of the orchestra with all controller curves included. You should maybe delete them if you want to mock it up with other samples.
> 
> https://www.dropbox.com/sh/euszj5rtxx4gk3m/AAAQhmk2cSUrRFlptbbq_DjMa?dl=0



Thank you for sharing midi, this is a very valuable thing for a beginner to learn and analyze. How did you create such a dynamic tempo track?


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## AlexanderSchiborr (Jan 13, 2018)

Ben E said:


> Oh man, thanks! I do this for winds but have never done it for V1 and V2. Even though I've been bothered by the high end just as you say. Thank you for this!



Okay, cool. Hope it helps then. 



Vladimir Bulaev said:


> Thank you for sharing midi, this is a very valuable thing for a beginner to learn and analyze. How did you create such a dynamic tempo track?



Drawing curves, see attachement.


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