James Bond Style Brass

Discussion in 'SAMPLE Talk' started by Suntower, May 11, 2019.

  1. Lee Blaske

    Lee Blaske Senior Member

    I'd go with SampleModeling/AudioModeling trumpets, bones and french horns plus Screaming Trumpet for that, plus a reverb that gives that kind of room tone. You need to play each line in separately, unquantized.
     
    LHall likes this.
  2. shsCT

    shsCT New Member

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    Haha - you’re too kind :) This place is full of insight; and long before this post. It just seemed an apropos story.

    I think my point is that, we all often put far too much emphasis on the “library” - and especially the idea that a new library we don’t yet have is the silver bullet - as the tool to get you there. I’m just as guilty of this as anyone (dear lord, I think I’m up to something like 10TB of sample drives and a whole server room full of computers).

    However, the puzzle that comes along with that notion is that there’s an inverse proportion of time at which you can get really really versed in any one tool as an expressive instrument; we end up with so many options we don’t get really really good at using any of them.

    Another story: I remember another composer friend of mine (who is now very successful in his own right) once played me a cue he’d done using the old Miroslav library that was hosted on those old Digi SampleCell cards. For my money, I could never get those samples to sing - everything I did using them sounded unconvincing - but this was the only sample library he had available to him and so he really dove in and learned it’s strengths, weaknesses, and idiosyncrasies.

    This is true of ANY “ensemble” we all get to work with - live, sample library-based or otherwise - one has to learn to write to the strengths of the ensemble before you. There is just no substitute for this skill. And before we all had so many choices, we had no other choice but to be clever with what we had. As amazing as all of our sample tech is now (and it is, and I love it) I think this truth has gotten a little lost by the wayside.

    Anyways, the piece sounded incredible, and completely believable as live - and this was when I was going to work at the same time with a live orchestra almost every week - for four years - myself on Futurama. I remember thinking that my “real” live session from the prior week didn’t sound as good as his track...

    So some of the suggestions in this thread are good ones to be sure. “Glory Days” looks to be an amazing library (hmmm, now... why don’t I have that... maybe I should go... :) ) But FWIW, I don’t think it’s the library that gets you there. I’d say, find whatever tool you can be emotionally, expressively compelling with, and focus on practicing how to be so with it. A lot. Not as fun as a shiny new download I know. But all real instruments have some “rough spots” on them - a great cellist doesn’t chuck the instrument - but learns how’s to play up the strengths and minimize the weaknesses. And I’d argue that some of the rough spots sometimes aid in the “realism” - even with sample libraries (ok I can think of another story but let’s save that :)) I’m not even sure that the folks working on those original Bond scores saw that sonic signature as a strength - but they certainly made the best of it!

    And since CTS is now gone, we’re all going to have to be clever at mimicking it’s sonic signature - when desired. And all I’m really trying to offer up is, don’t let what you don’t have be a roadblock to crafting your own signature sound
     
  3. Dominik Raab

    Dominik Raab Active Member

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    Amazing work, Daniel! Snake Eater will always be my favourite non-Bond Bond song. Cynthia Harrell is great, and so is Harry G-W's score to the game.
     
    whiskers likes this.
  4. Daniel James

    Daniel James Senior Member

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    HGW's Metal Gear Solid 2 score is the reason I'm a composer in the first place! (Imagine my joy at getting to work with him on Metal Gear Solid V!!!!! :D)

    Also I agree the vocals for Snake Eater are incredible! Perfect bond tone!

    If you are interested I synced my backing track to the accapella. I think its pretty close XD

    (you might want to turn down the acapella a little bit to make the mix better)

    https://viewsync.net/watch?v=LDZebVCjAEI&t=11.42&v=8aYeoR9LVlI&t=0&mode=solo

    -DJ
     
    Last edited: May 12, 2019
  5. OP
    OP
    Suntower

    Suntower New Member

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    Thanks for the very interesting story.

    As a bassist who has played next to a range of brass players over the years, I well understand the issues you bring up in terms of brass 'hot spots'. It happens in even the best opera houses. There's this pleasant back and forth between the brass and strings that the brass never -really- get to play 'forte'. They -always- have to hold back... at least a little.

    I keep seeing the name 'Screaming Trumpet' and I looked that up and Wayne Bergeron definitely rings a bell.

    Thanks to all for some very, very good tips.

    ----JC



     
  6. Dominik Raab

    Dominik Raab Active Member

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    It is! Great work :)
     
  7. halfwalk

    halfwalk Member

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    Man, I would totally read your blog if you had one. Thanks for sharing your insight. :thumbsup:
     
  8. GingerMaestro

    GingerMaestro Member

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    https://www.independent.co.uk/news/...-played-on-every-bond-soundtrack-8550572.html

    Derek Watkins was the trumpet player who’s sound you are trying to replicate. He was the first call “lead style” session player in London for decades. Wayne Burgeron is the equivalent, or certainly one of them in LA at the moment and has been one of the top Lead session players in the world for some time. Sadly having heard him live, I don’t think the realitone library really does him justice. Swing and Swing more are really good and fun to work with. That would be a good place to start in my humble opinion. You could try mixing this with a more straight ahead brass library and see if it gets closer to the sound you are looking for.
     
    Suntower likes this.
  9. Dr.Quest

    Dr.Quest Senior Member

    THIS!
     
    pderbidge likes this.
  10. Jack Weaver

    Jack Weaver Senior Member

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    Realitone did not record the Screaming Trumpet library. They purchased it from a company called Warp IV. Realitone resurrected a very limited and flawed product and via some nice programming made it eminently useful for the first time. I owned the original product (and now the Realitone) and the Realitone version is heads above it. But either version is unlike any other product out there.

    Now... if Realitone's Mike Greene were to re-do this product by getting Wayne Bergeron (possibly the world's leading trumpet high-note specialist) back into the studio it would be a significant library.

    Note: I was doing a 'Rocky' kind of cue today and happily used a combination of CSB and Realitone's Screaming Trumpet. Was there some finessing and processing going on to make them match ambiences? Yes, there was. But... if you need screaming trumpets then you must use Screaming Trumpet.

    .
     
    LHall, dflood, Wally Garten and 2 others like this.
  11. OP
    OP
    Suntower

    Suntower New Member

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    Jul 10, 2007
    I think the fact that they are willing to do a refund -and- that it's only $99 makes Screaming Trumpet a no-brainer... and at least one piece of the puzzle.

    My belief is that what I want is a hybrid... I think a decent 'straight' brass library and sax library is fine if there is one -lead- player in each section with 'personality'. So maybe the next step is to look at those SampleModeling gizmos.

    Thanks,

    ---JC


     
  12. jason.d

    jason.d Member

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    Ok this one is incredible! Nice job, you nailed it!!

    I did a version of my own a couple years ago (shameless plug): https://m.soundcloud.com/ones_and_zeros/shaken-not-stirred

    The main brass libraries that really made this happen were Sample Modeling Trumpet and Trombone 3, Chris Hein Horns Vol 2, and Session horns pro that came with Komplete. For the orchestral parts Cinebrass also was a huge help for those thick warm parts.
     
  13. GingerMaestro

    GingerMaestro Member

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    What Strings did you use for this, they sound really great
     
  14. BezO

    BezO The Artisan

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    Nice! Not sure I could pull this off but I've been looking to replace Session Horns Pro and considered Mojo2. Among other things, SHP doesn't scream; at least I can't get those sounds out of it. I need to take another look Mojo2.

    I've since added to my brass & winds via Spitfire Studio but that obviously didn't address saxes.
     
  15. Eptesicus

    Eptesicus Senior Member

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    I did this a while back with Hollywood Brass



    Most of the recognisable James Bondy bits are at the end :P

    This has some bond brass bits too (this was just playing around really)

     
    Last edited: May 14, 2019
    misterfincher23 likes this.
  16. Saxer

    Saxer Senior Member

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    As this thread mutates into a Bond style audition collection here's a little add on. I made this more than 10 years ago... (hope that excuses my horrible mix). Saxes and strings are real, all brass is Wallanderinstruments.
     
  17. musicalweather

    musicalweather Active Member

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    I think you would be right:
     
  18. antonyb

    antonyb Member

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    Another insights on 50s/60s swing big band sounding brass came from Michael Giacchino on The Incredibles soundtrack (another take on the Bond-ish sound), he mentions that brass sound best for that era of music when recorded on tape.
    Use a tape plugin to add the mojo.
     
  19. Przemek K.

    Przemek K. Senior Member

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    Thanks man. It was a labour of love:) Yours sounds good too.
     
  20. Przemek K.

    Przemek K. Senior Member

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    I did use OT Orchestral Strings Runs library which also contains these nice sustain samples.
     

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