Hendrixon
Senior New
First time I heard anything from "infinite" that sounds good to me.
Community Brass Programming Exercise - Olympic Fanfare
- Thread starter ALittleNightMusic
- Start date
duringtheafter
Member
No worries! It seems in the lower horn part you accidentally entered C's instead of A's (in the first measure and the 3rd measure) - see pic.
ALittleNightMusic
Professional Amateur
Well spotted!No worries! It seems in the lower horn part you accidentally entered C's instead of A's (in the first measure and the 3rd measure) - see pic.
ALittleNightMusic
Professional Amateur
Threw together a version using Modern Scoring Brass. Couple of nice things I noticed with this library - one, you get 4 individual horns, trumpets, and trombones, which is exactly what the concert score calls for. Coupled with auto-divisi, it is very easy to ensure each part is played by the correct player (and not just keep stacking sections per note like you have to do in most other libraries). Secondly, the stage presets are really nice for positioning - similar to how I would use SP1200. Then throw on a tail verb. My only wish was that you could make some of the shorts even snappier (you have the tighten knob, but I wanted to get it even tighter). Otherwise, very easy library to use.
Funny this thread popped up... I'd been working on exactly this over the course of the year to try and get proper placement and handling of SM Brass. So here's that in its current version (based on the "by popular request" recording).
View attachment 10.SME-Sp2016 & IQ-Reverb.mp3
View attachment 10.SME-Sp2016 & IQ-Reverb.mp3
Bear Market
I am Legion
I'm late to the party, but wanted to try this out with SSB. I'm not entirely satisfied with the result, but wanted to limit myself to SSB as an exercise (well, that's not entirely true... because I ended up using Iceni for the low brass).
View attachment SSB Olympic Fanfare Intro.mp3
View attachment SSB Olympic Fanfare Intro.mp3
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ptram
Senior Member
I'm reading the score, and wondering how to read the harmony. It's mostly made of two-notes chords, so there is always some ambiguity in which are the chords. My guess for the first two bars is:
G-- C-d7- d7-- e-d7- | d-- C-- F---- |
In case one wants to just-tune the notes, what should be done? Leave the topmost/melody note untouched, or consider the ghost fundamental and adapt all the notes?
Or, should a fanfare be better stay in equal tuning?
As you may guess, I know nothing about brass ensemble writing.
Paolo
G-- C-d7- d7-- e-d7- | d-- C-- F---- |
In case one wants to just-tune the notes, what should be done? Leave the topmost/melody note untouched, or consider the ghost fundamental and adapt all the notes?
Or, should a fanfare be better stay in equal tuning?
As you may guess, I know nothing about brass ensemble writing.
Paolo
ptram
Senior Member
I tried with VSL Synchron Brass. To the original signal I added a bit of algo reverb (MIRacle), just that bit to create a more diffuse halo without covering the natural reverb.
Limiting is just a bit (less than -1dB, with occasional overpass on peaks). There is also some saturation, adding a little grain to the final sound.
Williams, Olympic Fanfare (VSL Synchron Brass)
And this is without any additional processing, only the original mics and algo reverb included in the original presets:
Williams, Olympic Fanfare (VSL Synchron Brass, Pure)
This one is with just the Decca Tree (center channel -3dB). No added reverb. Mics and host master volume at 0dB (softer than the other examples):
Williams, Olympic Fanfare (VSL Synchron Brass, Decca Tree only)
Paolo
Limiting is just a bit (less than -1dB, with occasional overpass on peaks). There is also some saturation, adding a little grain to the final sound.
Williams, Olympic Fanfare (VSL Synchron Brass)
And this is without any additional processing, only the original mics and algo reverb included in the original presets:
Williams, Olympic Fanfare (VSL Synchron Brass, Pure)
This one is with just the Decca Tree (center channel -3dB). No added reverb. Mics and host master volume at 0dB (softer than the other examples):
Williams, Olympic Fanfare (VSL Synchron Brass, Decca Tree only)
Paolo
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ALittleNightMusic
Professional Amateur
I'm going to try my hand with Synchron Brass this weekend as well. How did you like using it?
ALittleNightMusic
Professional Amateur
Nice to see somebody else take a crack with Hollywood Brass (I posted my OPUS version a few pages back).
ptram
Senior Member
I'm finding them easy to use. They respond well. With the help of Timbre Adjust (not used in this test*, but used elsewhere) they have a wide dynamic range. The abundance of mics makes it easy to go from very close to very far from the listener position.
The sound can be soft, singing or brassy. Staccatos can be very strong. There are several shorts, to make a gradual shift between durations. I've been finding the sound I’m after for a wide-hall library.
Paolo
(*EDIT: I revised the piece, and made subtle use of the Timbre Adjust function).
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matthieuL
Active Member
Hello.
Nice ! What settings did you use ? (a mixer preset or our own ? and how much MIRacle ?) Personnaly I don't manage to have a satisfying sound from Synchron Brass, I find it too dry and thin.
Marcus Millfield
Senior Member
That's some heavy low brass in Iceni!
scherzo
Black Metal Panda
Very nice version by JeeTee, I thought. Makes me think I need to spend more time with Hollywood Brass. Maybe even upgrade to the new player after all.
...
I had another try at this segment, this time using the version posted by duringtheafter as reference. How does this sound? I think I've lost all perspective at this point.
https://www.dropbox.com/s/5dexbdujmho6juf/VI-C%20Fanfare%20SB%20v2.wav?dl=0
...
I had another try at this segment, this time using the version posted by duringtheafter as reference. How does this sound? I think I've lost all perspective at this point.
https://www.dropbox.com/s/5dexbdujmho6juf/VI-C%20Fanfare%20SB%20v2.wav?dl=0
ptram
Senior Member
I've used bare-bone Surround to Stereo Distant presets. Duplicated instruments (like Horns 3 and 4) have been slightly modified in panning, level and EQ.
I use MIRacle so that it doesn't cover the natural reverb, but creates that sort of 'icing' on the mix. It's usually between -10-12dB, with Length and Density depending on the music.
My guess is that a Lexicon simulation (with early reflection turned down) would fit better some types of music. But I like the Bricasti-like transparent sound of MIRacle.
I'm surprised you find them 'dry'. The room is big, and can result in a very wet sound. Even the closest mics are never 'dry'. The same for being 'thin' – I find them round and fat. Curious how we hear things in such a different way!
Paolo
Jay EM
(aka ScoringFilm)
This is implied harmony; the open nature of the chords is very much Americana style (Copland etc). Added 6,7,9ths work very well in brass fanfare writing, I guess they emphasize the natural overtones.
The higher brass parts will naturally sound brighter and louder due to the natural dynamic curve of the instruments.
Not sure that you need to re-tune anything.
Hendrixon
Senior New
It depends a LOT on the monitoring system.
I have several headphones around, Beyer, AKG, Sennheiser, some other good mid price.
They are not all created equal, actually there are huge differences
matthieuL
Active Member
Thanks for your settings !
Yes, comparing Tree mic of Berlin Brass and Main Mic of Synchron Brass, one could say one is wet and the other dry. Much drier at least.
The thing worrying me is that the feeling of the room and the tail are often made by the additional reverb in the presets (mute the reverb on Surround to Stereo Distant, you'll see what I mean), not by the "raw" samples.
And concerning "thin", I correct : it's essentially for the trumpets (which moreover are not well balanced imo, they lack 6db (and the Horns too) comparing to Trombones and Tuba.
