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Spitfire Audio “This is London Calling” - BBC Symphony Orchestra

@christianhenson would you or @SpitfireSupport be so kind to answer my question? Thank you 🙏

JoeHidden said:
@christianhenson I find the template / collaboration part super interesting. Primarily I work with Cubase on Windows 10, but I also own a MacBook Pro with Logic. I wonder if I can buy the Windows version and still participate in the collaboration and learning aspects on the Macbook. May the second personal computer also be cross-platform?
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@JoeHidden: Please correct me, if I have misunderstood your question:

AFAIK the collaboration is just a template thing. You can collaborate with everyone you want as long you have the same DAW. The main idea behind that concept is that you only need one package installed (BBC SO) to collaborate. I think it will have nothing to do with OSX/Windows.

Spitfire products are allowed to be installed on 2 computers.

I don't think Spitfire will do Cubase templates in the near future. I have never seen any SA walkthroughs / tutorials on Cubase.
 
@ridgero Spitfire said, that they will share the projects from the demos and maybe more in the future as logic projects. I think it is a great chance to learn from people like Andy how to master a virtual orchestra. As Cubase user that part will not available.

That is the reason for my question.
 
NoamL said:
!!!! :)

When people wonder why Andy's demos sound so real.... Screen Shot 2019-09-14 at 1.12.16 AM.png
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Could someone explain this witchcraft to me?

I understand the concept that the tempo is changing/evolving.
Is he doing these manually? Or is there some process within Logic I'm missing out?
I've seen @christianhenson projects with similar. I've added a few before manually but just major tempo shifts. This is something I've never really explored coming from a rock/EDM background.
 
christianhenson said:
A glimpse into the wonderful mind of Andy Blaney:

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Magnifico!

I truly feel if this was performed in a concert setting it would get a standing ovation. Just the sort of thing that a Proms performance would suit perfectly. Assuming you have everything notated corrected, and there are no ‘impossible’ sections/notes/transitions, what is the secret to having a real orchestra take you seriously and agree to perform your piece? I understand we are approaching this from a digital mock-up perspective, and the very notion of sample libraries is to enable composers the freedom to compose without a hiring expensive orchestra, and to do things electronically with samples that is impossible with acoustic instruments. But, with a piece such as this, it practically cries out for a real performance.

I wonder if the elitist mindset in the classical world would prohibit a performance of a work from a composer who does not go the traditional route via an education at a top Conservatoire, getting commissions, and building a name for yourself. I wonder if there are any established orchestras would take on a performance from somebody outside of that world.

EDIT: I should add that I do not know anything about Andy Blaney so I do not know his educational background. I am only talking in general terms should someone be self-educated.
 
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That old guard is dying or dead, you only need to see Johnny Greenwood's performance at this year's proms to prove that alongside the multitude of composers creating "concert" music who are traditionally trained, notwithstanding my brother Keaton Henson.

Here's a video that will stoke the RAM debate here (from around 7 minutes in):

 
Zedcars said:
EDIT: I should add that I do not know anything about Andy Blaney so I do not know his educational background. I am only talking in general terms should someone be self-educated.
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Andy does have an academic background in composition as far as I can remember.
 
James H said:
Could someone explain this witchcraft to me?

I understand the concept that the tempo is changing/evolving.
Is he doing these manually? Or is there some process within Logic I'm missing out?
I've seen @christianhenson projects with similar. I've added a few before manually but just major tempo shifts. This is something I've never really explored coming from a rock/EDM background.
Click to expand...
I can only talk from my own perspective, but personally, and depending on the piece, I try to ‘perform’ as much as possible on the piano with the click track turned off. Then you go through and match up the tempo to your performance. I would also tweak the tempo slightly after that, sometimes several times once the orchestral instruments have been filled in.
 
Alex Fraser said:
I understand what you're saying but I explained myself poorly. (Not for the first time!)

Consider the following vids which I created just now to check I wasn't going insane. Before each example was screengrabbed, the Mac was rebooted. It's a MacBook Air with 4GB of ram (belonging to my wife..) and most certainly passes the "low end Mac" test.

First up, loading the Albion ONE strings patch normally in Kontakt, in a new project file. Yep, the gap in the middle isn't a playback issue...




And now the same patch, but loaded as part of a "disabled tracks" template:



The difference is crazy and I've no idea how it's happening. It's absolutely revolutionised my workflow. I'm not sure what voodoo is going on here, but it's nuts. The difference isn't as drastic with many other libraries, but it really does speed up loading the worst offenders.

Shuffling back OT, the point I'm making - albeit laboriously - is that if you're a Logic user looking to create a BBCSO template, dynamic plugin management is clearly the way to go, and maybe, possibly (a little) explains Christian's post load buffer.

And also - if you have't tried the workflow yet, you really should..
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Now I understand, thanks for explaining. It looks like you didn't batch resave Albion. Also make sure you add the samples location to the exclusion list of your antivirus.

What is going on is that Kontakt already knows where the samples are in the disabled track (vid #2) so you will get much faster times, compared to loading a new instrument from scratch (vid #1).

I agree, it's a great workflow. :thumbsup:
 
christianhenson said:
That old guard is dying or dead, you only need to see Johnny Greenwood's performance at this year's proms to prove that alongside the multitude of composers creating "concert" music who are traditionally trained, notwithstanding my brother Keaton Henson.

Here's a video that will stoke the RAM debate here (from around 7 minutes in):

Click to expand...


Thanks mate. 25GB for the entire template is very impressive. And 7GB for your demo session is even more impressive considering you can strip out the articulations and have such a low memory footprint in a 44 instance project. That should shut put the RAM discussion to an end. I know I will shut up now.

Best costumer support. The owner of the company is giving answers himself and even going to the extent of recording video examples. That's why you are so successful.
 
Alex Fraser said:
Yes, a bumper tin of Quality Street. Appropriately.
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After 112 pages I finally “caved-in”. I preordered BBCSO!
Yesterday I had by weekly appointment with my therapist.

Therapist: you what! Bought another VI! I thought we had this under control.

Me: That’s not all (hesitating) ........ (continuing softly) I also preordered TIME Micro

Therapist: Get out of my office! You are UNTREATABLE. NEVER COME BACK!

who needs a therapist. What a waste of time.

In the US See’s dark chocolates are top quality! So to celebrate, I treated myself to a few. Life is good.
 
The flat version is the video to study. I'll be going through that with a microscope. What's interesting is that the only control modulations going on are Dynamics and Tempo. No Expression or fader movements. Sounds extremely well balanced, like a scoring session, not a concert stage where the woods can get lost.

I don't know how the tempo map is created. I remember his Bernard Hermann mock-up and the tempo map was nuts. Is it adjusted by hand or beat-mapped on the fly? Enquiring minds need to know. I think Andy writes in Digital Performer so this is a transfer to Logic. It's decades since I used DP so I don't know how tempo maps are handled there.

Reminds me of the 50s Hollywood post-romantic 'Viennese School' style (Max Steiner?). Great stuff.
 
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