thanks
so I got the next thing done
FrauduROM & Aftermath also posted in the OP.
all violins and violas with a lot of saturation/exciter, with some long echo in one of the violas performance patches. which was weird to work with because different spots in playback weren't what it is in the long view, things accumulate.
Actually there is a straight Violins 1 on top, it has more range and this was needed, as well as the straightforwardness.
"Amber" Downtuned String Quartet, Creative Soundpacks, Orch. Tools.
Ligeti-influenced polyphony. Not micro-polyphony at all, mind but certainly more parts than 4.
Doesn't happen on paper or with making actual people do stuff.
this is some real tension and release stuff and pretty satisfying I think.
Fraudulent.Romance_and aftermath. and: The Persistence of Memory. but there's more
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- KVRAF
- 11506 posts since 13 Mar, 2009 from UK
No more credit from the liquor store.
Most enjoyable. I particularly liked the strings used in the Aftermath section. Great power and clarity.
Good work
Most enjoyable. I particularly liked the strings used in the Aftermath section. Great power and clarity.
Good work
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
thx
I'm getting very close now. when I'm close to truth like this I'm extremely on edge, about to snap.
This is about as fast as I've had anything happen. Begin to Howl took months, this is maybe 30 hrs.
made the lumpen bits near the end make sense rhythmically, finalized the thing.
the romance in the end not fraudulent no mo
I'm getting very close now. when I'm close to truth like this I'm extremely on edge, about to snap.
This is about as fast as I've had anything happen. Begin to Howl took months, this is maybe 30 hrs.
made the lumpen bits near the end make sense rhythmically, finalized the thing.
the romance in the end not fraudulent no mo
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
Last edited by jancivil on Tue Jun 29, 2021 12:43 pm, edited 3 times in total.
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- KVRAF
- 5752 posts since 29 Sep, 2010 from Maui
Alright! good job on the video. Cant really say too much about it. Personally, I thought the color's were a little monotone, and I think you could do a little better to convey the mood of the music with some more tone variation. Another thing you might consider would be to layer some kind of visual interest over the top of it. I think what you've got, might be more interesting in the background. It would be really cool, if you had someone to film who was into interpretive dance. Of course, that's not something that generally is easy to come by sadly. Definitely, you could use something else, just to give as example, maybe an animation of a flower decaying or falling apart, hand drawn or even stop animated colored napkin's, film clips or whatever, anything really. Something the viewer can relate with. Psychedelic animation get's pretty boring, pretty fast, at least without the use of actual psychedelics.
Of course, it looks good and works well enough as it is. I for one, would be a little disappointed if you didn't go a little further to convey some of that great musical emotion within the visuals. Certainly though, that would be unnecessary if using visuals that way was never your goal in the first place.
Very nice work in any event.
Of course, that's not something that generally is easy to come by sadly. Definitely, you could use something else, just to give as example, maybe an animation of a flower decaying or falling apart, hand drawn or even stop animated colored napkin's, film clips or whatever, anything really. Something the viewer can relate with. Psychedelic animation get's pretty boring, pretty fast, at least without the use of actual psychedelics. Of course, it looks good and works well enough as it is. I for one, would be a little disappointed if you didn't go a little further to convey some of that great musical emotion within the visuals. Certainly though, that would be unnecessary if using visuals that way was never your goal in the first place.
Very nice work in any event.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
it's just what iTunes classic visualizer did on playback and me grabbing some text presets in FCPX and some care with that.
I have cobbled together things like NASA footage or bits from movies but I'm sure I felt I had more time left on the planet than I do now.
The main idea is it sure beats having a still photo, albeit when I listen to music on youtube I might watch it closely if it's a live performance of the thing, the medium here is music, I have no ambition beyond that.
Here, I got lucky with a roll of text perfectly matching the music in the second credit crawl, other than that it's a nice wash of color and shapes moving in time to sounds. I think whoever wrote this thing is a gigantic genius.
I have cobbled together things like NASA footage or bits from movies but I'm sure I felt I had more time left on the planet than I do now.
The main idea is it sure beats having a still photo, albeit when I listen to music on youtube I might watch it closely if it's a live performance of the thing, the medium here is music, I have no ambition beyond that.
Here, I got lucky with a roll of text perfectly matching the music in the second credit crawl, other than that it's a nice wash of color and shapes moving in time to sounds. I think whoever wrote this thing is a gigantic genius.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
new work since
The Persistence of Memory
because things happened so readily they must be memory. first impetus to finished realization in 7 days.
https://youtu.be/hNNGRUgb4fs
gets into the Downtuned String Quartet and wind orchestra some more, no normal strings this time.
High late Romantic period happens for no reason, really messing with aspects of tonality some more. Certain things feel like the Debussy that was fascinated with Wagner.
there is a kind of goofy intro to the intro for no reason I know of, kind of a titles sequence before the piece proper.
The Persistence of Memory
because things happened so readily they must be memory. first impetus to finished realization in 7 days.
https://youtu.be/hNNGRUgb4fs
gets into the Downtuned String Quartet and wind orchestra some more, no normal strings this time.
High late Romantic period happens for no reason, really messing with aspects of tonality some more. Certain things feel like the Debussy that was fascinated with Wagner.
there is a kind of goofy intro to the intro for no reason I know of, kind of a titles sequence before the piece proper.
Last edited by jancivil on Tue Jun 29, 2021 12:44 pm, edited 1 time in total.
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ChameleonMusic ChameleonMusic https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=430348 - KVRAF
- 1611 posts since 23 Nov, 2018 from Birmingham, UK
Very interesting listen...on my 4th now!
Shades of Takemitsu's mixed ensemble works at times, especially the melodic flow and textural changes.
Lovely warm, clear sound to it all as well.
Shades of Takemitsu's mixed ensemble works at times, especially the melodic flow and textural changes.
Lovely warm, clear sound to it all as well.
Mark Taylor, Chameleon Music - Professional composition and sound design for all media since 1994.
https://www.chameleonmusic.co.uk/
https://www.chameleonmusic.co.uk/
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
huge fan of Takemitsu. so thanks for that.
I've mentioned this a number of times, but I can't forget Morton Feldman's account of hanging out with him and when they decided it's time to listen to something, Takemitsu chose some Sibelius from the shelf of records. so MF makes a point of asserting real radicals are real because of the strong basis in yer regular vocabulary, or something.
I just heard something in a movie that has to have been the Downtuned String Quartet, if not it's the same kind of sound design. behind some probably real violin. A Stephen King series on Apple TV, Lisey's Story... so it's giving a weird edge to the romanticismz. Yeah, 2021, sounds like 2021, I bet it's this library. Which makes for quick work to be honest, although it has to be central to the mix, it's not going to be tamed. I did zero EQing, gave it zero help. For most of the time of working on it I hadn't even automated volume levels, it was all CC1 and CC11. The winds blended nicely, fortunately. And fortunately I had a euphonium to draw from, french horn or trombone a no (EDIT: the first bombastic section uses double fr. horn, six of 'em). Bass flute is my instrument now, that thing is unbelievable and it takes to pitch bend like a mother.
(euphonium is one of those things my father was impressed by in Stan Kenton, and me with Gil Evans going way back to childhood.)
I think MIR Pro is the trick to this really. The days of automating all of this reverb are history.
I've mentioned this a number of times, but I can't forget Morton Feldman's account of hanging out with him and when they decided it's time to listen to something, Takemitsu chose some Sibelius from the shelf of records. so MF makes a point of asserting real radicals are real because of the strong basis in yer regular vocabulary, or something.
I just heard something in a movie that has to have been the Downtuned String Quartet, if not it's the same kind of sound design. behind some probably real violin. A Stephen King series on Apple TV, Lisey's Story... so it's giving a weird edge to the romanticismz. Yeah, 2021, sounds like 2021, I bet it's this library. Which makes for quick work to be honest, although it has to be central to the mix, it's not going to be tamed. I did zero EQing, gave it zero help. For most of the time of working on it I hadn't even automated volume levels, it was all CC1 and CC11. The winds blended nicely, fortunately. And fortunately I had a euphonium to draw from, french horn or trombone a no (EDIT: the first bombastic section uses double fr. horn, six of 'em). Bass flute is my instrument now, that thing is unbelievable and it takes to pitch bend like a mother.
(euphonium is one of those things my father was impressed by in Stan Kenton, and me with Gil Evans going way back to childhood.)
I think MIR Pro is the trick to this really. The days of automating all of this reverb are history.
Last edited by jancivil on Sun Jun 27, 2021 10:51 pm, edited 1 time in total.
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ChameleonMusic ChameleonMusic https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=430348
- KVRAF
- 1611 posts since 23 Nov, 2018 from Birmingham, UK
I got quite obsessed with Takemitsu for a while...listened and analysed everything he did. Absolute master of textural change in some of those orchestral pieces.jancivil wrote: ↑Sun Jun 27, 2021 9:49 pm huge fan of Takemitsu. so thanks for that.
I've mentioned this a number of times, but I can't forget Morton Feldman's account of hanging out with him and when they decided it's time to listen to something, Takemitsu chose some Sibelius from the shelf of records. so MF makes a point of asserting real radicals are real because of the strong basis in yer regular vocabulary, or something.
I just heard something in a movie that has to have been the Downtuned String Quartet, if not it's the same kind of sound design. behind some probably real violin. A Stephen King series on Apple TV, Lisey's Story... so it's giving a weird edge to the romanticismz. Yeah, 2021, sounds like 2021, I bet it's this library. Which makes for quick work to be honest, although it has to be central to the mix, it's not going to be tamed. I did zero EQing, gave it zero help. For most of the time of working on it I hadn't even automated volume levels, it was all CC1 and CC11. The winds blended nicely, fortunately. And fortunately I had a euphonium to draw from, french horn or trombone a no. Bass flute is my instrument now, that thing is unbelievable and it takes to pitch bend like a mother.
I think MIR Pro is the trick to this really. The days of automating all of this reverb are history.
My youngest son played flute for a few years and his teacher performed on the bass flute quite regularly...wonderful sound.
Mark Taylor, Chameleon Music - Professional composition and sound design for all media since 1994.
https://www.chameleonmusic.co.uk/
https://www.chameleonmusic.co.uk/
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- Banned
- 995 posts since 4 Feb, 2021
Eh, wow, Jan. That one went through my filters. How on Earth does one make such things up, I wonder. Neither Fux nor Jeppesen have the answer to this one, surely.
Tribe Of Hǫfuð https://soundcloud.com/user-228690154 "First rule: From one perfect consonance to another perfect consonance one must proceed in contrary or oblique motion." Johann Joseph Fux 1725.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
I basically get a soundworld happening and get in the piano roll and part-write live, one line at a time in overdubs.
I find that first section hilariously commercial and sugary. I had no plan to do that, it happened spontaneously.
a kind of unsolicited romanticism is coming to the fore now with me, I guess it's the instruments want it. And I guess I part-wrote every day in the late romantic idiom, hence muscle memory.
I'm not all that analytical, I listen deeply though, and absorb, all spongelike maybe.
Bass flute is a big damned instrument, would take some real lungs.
VSL; this thing has so much life in it, all of this texture and granularity and expression built in it, killer performance legato. sounds kind of ethnic with that pitch wheel stuff, I'm liking the thing I'm using, it gives the right amount of resistance to really control it. I had some real WOW moments in the Persistence of Memory.
Persistence of Memory
the snare drum in the two stupid tattoos was kinda tame for me, addressed that/otherwise no diff
I find that first section hilariously commercial and sugary. I had no plan to do that, it happened spontaneously.
a kind of unsolicited romanticism is coming to the fore now with me, I guess it's the instruments want it. And I guess I part-wrote every day in the late romantic idiom, hence muscle memory.
I'm not all that analytical, I listen deeply though, and absorb, all spongelike maybe.
Bass flute is a big damned instrument, would take some real lungs.
VSL; this thing has so much life in it, all of this texture and granularity and expression built in it, killer performance legato. sounds kind of ethnic with that pitch wheel stuff, I'm liking the thing I'm using, it gives the right amount of resistance to really control it. I had some real WOW moments in the Persistence of Memory.
Persistence of Memory
the snare drum in the two stupid tattoos was kinda tame for me, addressed that/otherwise no diff
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- KVRAF
- 11506 posts since 13 Mar, 2009 from UK
What is that bass about 30 seconds into Persistence? It's got an exceptionally smooth, warm sound. In fact, the whole piece sounds really polished and clean. Almost TV-ready. Who needs EQ?
Good work
Good work
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
Hercules, fr. VSL Big Bang Orchestra. very low brass section
using VSL in these two ways, an ensemble sampled as the ensemble in Synchron Player, and solo instruments on the Synchron Stage (wide, both use the wide look) in MIR Pro guarantees a blend, and one complements the other; the Synchron Player does more stereo enveloping, with Omni L & R and surround - and for some of it a 'high' mic, pointed upwards - while MIR is mostly cardioid capsules and not surround per se, but a more controllable space (each player can haz their own wet level ie., extent of the reflections, and its own width, for instance).
So I have this rather large template that sees some additions according to a new conception, but it has a mix going from the get-go.
I have been listening to TV mixes, there's some incredible stuff going on now in sound design and spatiality in mixes.
using VSL in these two ways, an ensemble sampled as the ensemble in Synchron Player, and solo instruments on the Synchron Stage (wide, both use the wide look) in MIR Pro guarantees a blend, and one complements the other; the Synchron Player does more stereo enveloping, with Omni L & R and surround - and for some of it a 'high' mic, pointed upwards - while MIR is mostly cardioid capsules and not surround per se, but a more controllable space (each player can haz their own wet level ie., extent of the reflections, and its own width, for instance).
So I have this rather large template that sees some additions according to a new conception, but it has a mix going from the get-go.
I have been listening to TV mixes, there's some incredible stuff going on now in sound design and spatiality in mixes.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
actually I do recall sticking a saturation device in an aux send in the Hercules a couple projects back. IIRC a model of a Marshall "1960" cabinet. courtesy of VSL. sure it's still there
