What's new

Eloquence - Symphonic Work

tebling

New Member
From one "new member" to another - welcome! Thanks for sharing this, I enjoyed it a great deal. I liked the third and fourth movements best.

My only critiques would be that the first movement repeats the theme almost verbatim one too many times for my taste, and in general across all the tracks some of the timing could be tightened up a bit. Nothing to take too seriously though, this is nice work!

How long did this take in total?
 

markleake

Recovering sale addict
These are great pieces! Thankyou for posting these.

I really like the sound, and the ideas, and the orchestration in all your tracks on SoundCloud. Wish there was more than just 6 of them. :)

Is this all Orchestral Tools libraries?
 
OP
brandowalk

brandowalk

New Member
From one "new member" to another - welcome! Thanks for sharing this, I enjoyed it a great deal. I liked the third and fourth movements best.

My only critiques would be that the first movement repeats the theme almost verbatim one too many times for my taste, and in general across all the tracks some of the timing could be tightened up a bit. Nothing to take too seriously though, this is nice work!

How long did this take in total?
Thanks Tebling for the feedback and glad you enjoyed listening. I agree with your comments and this is something I am working on. Sometimes I don't try to perfect the timings to help bring some human element into the tracks but if it is distracting than maybe it's not a good thing.

The effort on this one took a long time and would be hard for me to total - I'm not under any deadlines, fortunately and unfortunately! :) Thanks again!
 
OP
brandowalk

brandowalk

New Member
These are great pieces! Thankyou for posting these.

I really like the sound, and the ideas, and the orchestration in all your tracks on SoundCloud. Wish there was more than just 6 of them. :)

Is this all Orchestral Tools libraries?
Thank you Mark! Appreciate your comments. I will be posting more tracks in the near future to SoundCloud. I have about an album's full of material and hope to wrap it up soon before starting another chapter. All of the samples are from the Spitfire Audio range; their sound and tools were the catalyst and inspiraton for me to start composing again and I am thankful for that.
 

markleake

Recovering sale addict
Thank you Mark! Appreciate your comments. I will be posting more tracks in the near future to SoundCloud. I have about an album's full of material and hope to wrap it up soon before starting another chapter. All of the samples are from the Spitfire Audio range; their sound and tools were the catalyst and inspiraton for me to start composing again and I am thankful for that.
Ah... Spitfire. They sound great. Tells you how well I know the Oboes in the libraries I own ... I was listening to the one in your tracks and thought it was OT! Lol. Looking forward to hearing more. :)
 

Paul T McGraw

Senior Member
@brandowalk I enjoyed your work. I did not notice too much repetition, even after reading that complaint above and listening for it. Not saying my opinion is better, just different.

Compositionally, I think each movement is strong, and you have lots of good ideas. I do find that I personally would prefer longer movements than just 2 or 3 minutes, but that is just me.

I love the sound you are getting. I own the full Spitfire orchestra, but my results have not been as good as yours. If you are willing, can you please share your Mic mix thoughts? I am guessing that you are adding a bit more ambient to the brass, and a little less ambient for the woodwinds. But my ears are old.

I do not hear any final reverb on the entire mix. Did you use something? I also hear everything as very natural. I do not hear any of the metallic artifacts caused by too much processing so I am guessing the only thing you used is some light EQ tweaks. I do not even hear a compressor, but as I mentioned my ears are old. Would you share your mixing elements?
 
OP
brandowalk

brandowalk

New Member
@brandowalk I enjoyed your work. I did not notice too much repetition, even after reading that complaint above and listening for it. Not saying my opinion is better, just different.

Compositionally, I think each movement is strong, and you have lots of good ideas. I do find that I personally would prefer longer movements than just 2 or 3 minutes, but that is just me.

I love the sound you are getting. I own the full Spitfire orchestra, but my results have not been as good as yours. If you are willing, can you please share your Mic mix thoughts? I am guessing that you are adding a bit more ambient to the brass, and a little less ambient for the woodwinds. But my ears are old.

I do not hear any final reverb on the entire mix. Did you use something? I also hear everything as very natural. I do not hear any of the metallic artifacts caused by too much processing so I am guessing the only thing you used is some light EQ tweaks. I do not even hear a compressor, but as I mentioned my ears are old. Would you share your mixing elements?
Thank you Paul, appreciated.

Regarding the length of the movements... good point. The shorter mvmts are more manageable for composing for me and possibly for listening for some. Yet, I'm finding the work I'm doing now and trying to develop the composition ideas is making for longer pieces. This is the artistic challenge I have now with form... proper development and keeping things engaging and then appropriate conclusion. I hope to post this piece soon.

You have good ears and analysis of the mix! On this example minimal processing: some hall, EQ roll off below 50Hz, +2dB @ 200Hz, and +4dB at 16k.

When I write, I just use the Tree mics for RAM consideration. When I'm ready for mix down, I print section or even instrument stems using whatever mic combinations work for the piece for the mood or enivironment needed. In this example, I used most of the CTA or CTAO mics available and varied the levels, either leaning more of the close or ambient mics. For strings, I believe I used mostly relied on ambient mic (100%), then close (75%), then tree (60%). For woodwinds, I used C (80%), T (90%), A (100%). For Brass, I used CTAO each at 100%.

That said, for the piece I'm working on now, I have taken a different approach that I find works better... I print stems relying more on the close mics for Strings (Ribbon mics for the WW) with a basic mixture of Ambient, Outrigger or Tree depending on the taste. For Brass I used Outrigger and Ambient mics only. This gets me a good overall sound, probably fine for a final mix. I then however, print another stem of just Gallery mics for each instrument section. This allows for "musical" riding of ambience amount during mix and more flexibility. This all takes time to load and bounce down but is worth it. I found I don't need an additional reverb either so is 100% of the hall (which is the selling point for SF for me)!
 
Top Bottom