OP
OP
GiuseppeS+OS
Active Member
Hi everyone, thanks a lot for your feedback and insights, I really appreciate your comments and suggestions, I definitely value them as a precious contribution to further improvements!
I'll try to summarise here why I didn't add the original raw sounds and why I decided to opt for a more designed sound.
When I amassed an insane amount of raw recordings, I realised that those sounds alone didn't manage to create that epic, intimidating horn sounds I was aiming to. I'll do an example: if you picture in your mind the character of a big, bad, terrifying viking warrior, the horn sound you immediately associate to the character is something deep, profound and huge. It becomes a sonic attribution you instinctively associate to the scene, it's a sort of emanation of the character himself and the context in which he'll be likely located.
Well, when you listen to the completely dry sounds, especially those from smaller instruments, there's a sort of mismatch between the actual timbre and that instinctive sonic expectation you have if you think to an ancient warrior. Here's why I found myself in front of a choice: staying 100% faithful to the original sounds or recreating what I thought a viking horn sound should be in a cinematic context. I opted for the second
Hence the layering and the processing (although some reverbs are actual acoustic ones, they've been recorded in big warehouses or stairs of a building, like in this video). For example, many of those low horn stabs have been obtained by layering the original instruments with other self-built ones, that sounded a bit cacophonous alone, but in a layered mix they added that rawness, sort of animalesque quality that I was seeking.
But of course I absolutely see your point about the flexibility of having the raw sounds as well, ironically I did this in some previous releases, but in that case the quality of the original sounds themselves stood on its own. Or maybe I just got so obsessed with the horn sound snapshot I had in my mind to not being able to recognise the value of the dry sounds (happens a lot to lose a bit of perspective when you are too focused on achieving exactly the final result you want).
As a final note, I'll say that the high pitched squeals are basically the same as the originals.
Once again, thanks for your insights, like Justin suggested I'll definitely consider to do a selection of the raw sounds and use it as a future upgrade
I'll try to summarise here why I didn't add the original raw sounds and why I decided to opt for a more designed sound.
When I amassed an insane amount of raw recordings, I realised that those sounds alone didn't manage to create that epic, intimidating horn sounds I was aiming to. I'll do an example: if you picture in your mind the character of a big, bad, terrifying viking warrior, the horn sound you immediately associate to the character is something deep, profound and huge. It becomes a sonic attribution you instinctively associate to the scene, it's a sort of emanation of the character himself and the context in which he'll be likely located.
Well, when you listen to the completely dry sounds, especially those from smaller instruments, there's a sort of mismatch between the actual timbre and that instinctive sonic expectation you have if you think to an ancient warrior. Here's why I found myself in front of a choice: staying 100% faithful to the original sounds or recreating what I thought a viking horn sound should be in a cinematic context. I opted for the second
Hence the layering and the processing (although some reverbs are actual acoustic ones, they've been recorded in big warehouses or stairs of a building, like in this video). For example, many of those low horn stabs have been obtained by layering the original instruments with other self-built ones, that sounded a bit cacophonous alone, but in a layered mix they added that rawness, sort of animalesque quality that I was seeking. But of course I absolutely see your point about the flexibility of having the raw sounds as well, ironically I did this in some previous releases, but in that case the quality of the original sounds themselves stood on its own. Or maybe I just got so obsessed with the horn sound snapshot I had in my mind to not being able to recognise the value of the dry sounds (happens a lot to lose a bit of perspective when you are too focused on achieving exactly the final result you want).
As a final note, I'll say that the high pitched squeals are basically the same as the originals.
Once again, thanks for your insights, like Justin suggested I'll definitely consider to do a selection of the raw sounds and use it as a future upgrade
Btw, really looking forward to hear what you're going to do with those horns!
