I like music
Senior Member
+ve? What does that mean? Also, for your other question, no. All instruments remain in the same position throughout the entire piece. There are some pieces where I steal the first trumpet from the orchestra (Soloist position, mixed mic off to finetune the sound a bit) to use for jazz writing, but I didn't do that here.
Yes, the piccolo is definitely a special case! I generally don't do manual mic tuning with Infinite because of how much I love the sound out of the box. I just use default or a mixed mic position. But given how much I just adore the piccolo as an instrument (I'm a huge John Williams fan, so you can thank him for that), I wanted mine to be just the way I like it. You can definitely replicate horn section depth with mixed mic. That's what I generally do. As for the piccolo, I'm not really sure since the ambience only goes up on mixed mic as the instrument gets further back. Definitely worth an attempt though! Let me know your results.
Sure thing. If you've got any more phrases or passages from any other timecode feel free to let me know and I'll send an image over. Infinite is so flexible that seeing and hearing the way others do things can really open one's mind. @shawnsingh 's legendary IB 1.4 demo and his advice did that for me.
I'm really proud of the little trick I did for the falls. Not only did I do quick legato runs downward, but I made sure each trumpet patch played a different number of notes at a different speed to make it sound more authentic.
Then I added a different amount of pitch bend (set to CC #59) to each one as they went down. Without that, it didn't sound as natural and sloppy as real falls should. You would always hear a distinct final pitch no matter how short you made the last note. That's not how real falls have ever sounded to my ear. The pitch is often ambiguous as it progresses and nearly impossible to determine by ear on the last note, and pitch bend solves that. Think of it as a sort of "secret sauce" for falls.
Also, using the Incredibles soundtracks as a reference, I made sure to start the pitch bend before the first note of the falls on each trumpet. That way you can hear the trumpets starting to fall out of pitch on its current note before the fall begins.
Add a touch of pitch bend at the start of the note for a bit of dramatic flair and voila! You get this:
Amazing info thank you! Any chance you can share the screenshot for the pitch-bend data so I can visualise what you've described, please? I think I get what you're saying and will try it msyelf but seeing it would be incredible.
Yeah, great soundtrack is the incredibles!
OK, interesting to know that you keep your horns at different depths through the piece. Soemthing about that notion makes me feel weird, as if I were doing a triad, it might feel like the horns are sitting in very different places. But I actually haven't tried this so I have no idea if it feels sonically weird. Certainly sounds good in your examples!
