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Last edited by px2018 on Wed Dec 18, 2019 8:37 am, edited 2 times in total.

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Very good. You really went for a full orchestral approach.

I believe the arrangements of Wendy Carlos were more sober. They probably had to be with the limited multi-tracking possibilities at the time. I like that you can always clearly hear each of her individual synthesizer sounds.

In your arrangement some sounds are hidden in the mix, yet they contribute to the whole. That is how it works in a real orchestra, so it's all good. Just pointing out what I perceive as a slight difference in style.

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Nick, you didn't have to remove your reference to Wendy Carlos on account of me. :( I just gave an opinion, that's all.

Actually you have inspired me to show some of my own "baroque on synth" pieces. I will post them soon here in the Music Cafe and I would be curious to hear what you think of them.

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Wendy's Arrangements were meant to be taken seriously. While in some ways her record was a novelty, it was also a virtuoso work. They all worked very hard to make sure that the record could not be written off as a joke record (like most electronic records of that time). Overall they achieved that very well.

Of course, any time you do anything remotely similar you get the Wendy thing. I hit that straight between the eyes with my "Plugged-In Bach" by making it about Wendy and an Anniversary thing.

This version is nice. Personally I find the Art Of Noise "voices" a bit twee but handling a vocal line with an instrument is always a very tricky thing, set to engender "elevator music" accusations. I got a bit lucky with the choir synth in Reason for my Bach Cantata. For Alan Parsons & the Eagles, I used straight synthesis so it didn't really try to be a voice.

:-)

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px2018 wrote: Mon Dec 16, 2019 11:37 pm Post deleted......
Why?
What did we do to upset you?

I thought we were being positive with you.
If it was over the reference to Wendy Carlos, that is inevitable with Bach on synths.

:-)

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