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Topic: First dedicated Orchestral composition - "Hello" by Evanescence

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  1. #1

    First dedicated Orchestral composition - "Hello" by Evanescence

    Hey guys,

    Im not sure if this is the right forum, but i thought i'd share my first serious composition to get some feedback.

    <object height="225" width="100%"> <param name="movie" value="http://player.soundcloud.com/player....40716"></param> <param name="allowscriptaccess" value="always"></param> <embed allowscriptaccess="always" height="225" src="http://player.soundcloud.com/player....sers%2F3040716" type="application/x-shockwave-flash" width="100%"></embed> </object> <span><a href="http://soundcloud.com/lachlunnv">Latest tracks by DJ token</a></span>

    if that doesnt work on this forum then http://snd.sc/hTDV3b

    let me know what you think!

    cheers,
    lachlunnv

  2. #2

    Re: First dedicated Orchestral composition - "Hello" by Evanescence

    Hi.

    I liked the musical ideas as well as instrument choices: simple and transparent orchestration. One thing that needs more work is the upper strings. They sound thin and synthy. However, that's not your fault, but sampling technology's current state of art. The progress made in the past 20 or so years still is not enough to render violins and violas well beginning with C5. Therefore, one will have to resort to a plethora of workarounds which, more or less, will overcome sample deficiencies.

    Some people do the obvious, that is, superimposing the end of the preceding note to the beginning of the next. This works at times, but each junction will have to be worked out separately. Sometimes this technique outrightly hurts. Sometimes, I use superimposition and back to back direct entry, (into the MIDI editor) for succeeding notes (that is, where a note ends, another begins, no superimposition whatsoever) in the same sequence. It depends on tempo, register, each instrument's and/or sectionals' tone color, etc. I found that doubling different sectionals on different tracks alleviates the problem to a certain extent, for much tweaking is still necessary. For ex., using open violins on one track and muted on another, will indeed make the sound smoother. Then, I'll do two more tracks with an open solo and another track with a muted solo to give the line vibrato and more smoothness (of course, you can use other kinds of sectionals and/or solos as well). However, even this is not enough, so I equalize each track for balance between the tracks' sound, usually tweaking some of the offending frequencies. I can't tell by how much, since each situation is different. Some people swear by small amounts, but I used even upward to 9 db. Equalization has to happen as a function of context though because we are not looking for the sound of 6 different tracks, but a homogeneous first Violins sound. Ditto with the second violins and violas. Cellos and Basses do not exhibit so many problems, but even there correction is welcome.

    In my case, I use Garritan GPO3 in Sonar 8.5.3. Interestingly, using Sonitus EQ, when maxing the frequencies around 10000Hz, the sound gets much smoother for the violins. I haven't figured it out yet why, since the effect should be exactly the reverse. The only thing I know is that it works.

    Anyway, good luck and keep working and piling up experience. No substitute for that. And, certainly, I am still working on the issue after 1.5 years. And, even if I solve the issue in one piece, in another there are other problems because the specifics are different. S.

  3. #3

    Re: First dedicated Orchestral composition - "Hello" by Evanescence

    Quote Originally Posted by sylva View Post
    Hi.

    I liked the musical ideas as well as instrument choices: simple and transparent orchestration. One thing that needs more work is the upper strings. They sound thin and synthy. However, that's not your fault, but sampling technology's current state of art. The progress made in the past 20 or so years still is not enough to render violins and violas well beginning with C5. Therefore, one will have to resort to a plethora of workarounds which, more or less, will overcome sample deficiencies.

    Some people do the obvious, that is, superimposing the end of the preceding note to the beginning of the next. This works at times, but each junction will have to be worked out separately. Sometimes this technique outrightly hurts. Sometimes, I use superimposition and back to back direct entry, (into the MIDI editor) for succeeding notes (that is, where a note ends, another begins, no superimposition whatsoever) in the same sequence. It depends on tempo, register, each instrument's and/or sectionals' tone color, etc. I found that doubling different sectionals on different tracks alleviates the problem to a certain extent, for much tweaking is still necessary. For ex., using open violins on one track and muted on another, will indeed make the sound smoother. Then, I'll do two more tracks with an open solo and another track with a muted solo to give the line vibrato and more smoothness (of course, you can use other kinds of sectionals and/or solos as well). However, even this is not enough, so I equalize each track for balance between the tracks' sound, usually tweaking some of the offending frequencies. I can't tell by how much, since each situation is different. Some people swear by small amounts, but I used even upward to 9 db. Equalization has to happen as a function of context though because we are not looking for the sound of 6 different tracks, but a homogeneous first Violins sound. Ditto with the second violins and violas. Cellos and Basses do not exhibit so many problems, but even there correction is welcome.

    In my case, I use Garritan GPO3 in Sonar 8.5.3. Interestingly, using Sonitus EQ, when maxing the frequencies around 10000Hz, the sound gets much smoother for the violins. I haven't figured it out yet why, since the effect should be exactly the reverse. The only thing I know is that it works.

    Anyway, good luck and keep working and piling up experience. No substitute for that. And, certainly, I am still working on the issue after 1.5 years. And, even if I solve the issue in one piece, in another there are other problems because the specifics are different. S.

    Thank you for you suggestions, Sylva! There's certainly some food for thought there. Especially the EQ on the attack of the note.

    Best regards,
    Lachlunnv

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