A Low Brass Into - Work In Progress

László

Too Many Notes
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Apr 26, 2012
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I'm still working out the kinks on this, but wanted to share. I've been monkeying around with low brass/cello/bass blends, and in the third section, I wanted to see how col legno strings would do with eight notes to give the pulsing strings a different texture than straight bowing.

Overall, I hope it's headed in a good direction.

https://persistenceofmemory.band/single/43701/low-brass-intro
 
That’s a powerful piece Les.

Thanks! Think it's worth developing further? I'm considering modulating the key for the rhythmic bit, and then returning to the original key with a modified melodic/chordal thing to give it more of the basic sonata form, and of course, lengthening everything as well.

I always like to get a bit of feedback from listeners as to whether to go further, or just take it off my hard drive!
 
Thanks! Think it's worth developing further? I'm considering modulating the key for the rhythmic bit, and then returning to the original key with a modified melodic/chordal thing to give it more of the basic sonata form, and of course, lengthening everything as well.

I always like to get a bit of feedback from listeners as to whether to go further, or just take it off my hard drive!

Absolutely worth taking the time to develop this piece.
 
This piece definitely heightened the feeling of tension, just listening to it... I'm sensing some musically-emotive skills here in the territory of the great John Williams.
 
Hi, Les. I'm not familiar with all the terms you use, but would like to. (I'd never heard col legno before, had to look it up.) Third section starts around 0:57? Overall, it sounds really great, but I don't think I would've been able to tell it was col legno without being told. I'm still training my hearing, though, so take that as coming from an absolute newbie.

May I ask how you recorded it? Plug-in?

(I'm actually working -- slowly, not on the level of soundtrack composers to say the least -- on my Opus 1 with plugins from VSL and Spitfire, along with Arturia Collection V, as well as some free plugins. I also plan on getting the G-Force Mellotron sample collection at some point, just because I love Mellotron.)
 
Hi, Les. I'm not familiar with all the terms you use, but would like to. (I'd never heard col legno before, had to look it up.) Third section starts around 0:57? Overall, it sounds really great, but I don't think I would've been able to tell it was col legno without being told. I'm still training my hearing, though, so take that as coming from an absolute newbie.

May I ask how you recorded it? Plug-in?

(I'm actually working -- slowly, not on the level of soundtrack composers to say the least -- on my Opus 1 with plugins from VSL and Spitfire, along with Arturia Collection V, as well as some free plugins. I also plan on getting the G-Force Mellotron sample collection at some point, just because I love Mellotron.)

Yes, I use sample libraries from East/West, Berlin Strings, and Spitfire Audio. All work out well in my compositions. Try hiring a symphony orchestra to perform your stuff in a studio - 30-60 grand a DAY.

So yes, sample libraries work fine.

The G-Force mellotron is very good. The most recent Arturia collection also has a mellotron that sounds good, but not a ton of sounds for it for some reason.
 
Yes, I use sample libraries from East/West, Berlin Strings, and Spitfire Audio. All work out well in my compositions. Try hiring a symphony orchestra to perform your stuff in a studio - 30-60 grand a DAY.

So yes, sample libraries work fine.

The G-Force mellotron is very good. The most recent Arturia collection also has a mellotron that sounds good, but not a ton of sounds for it for some reason.
Thanks! Oh, you don't need to convince me -- I'm just a hobbiest musician. I also imagine it's faster -- which is crucial in your line of work.

The only reason I ask is because it does sound very lifelike.

One of the reasons I chose the particular VSL library I did was because of the individual instrument articulations. I really like that small ensemble sound, for example, in the middle section of Deep Purple's "April". Which I imagine can only be accomplished writing each part individually.
 
Well as for developing it further, the piece itself gives me a "no turning back now" feeling, so maybe that is a message from the song ;~)) Excellent work as usual, the only thing that blows my mind is how you get all these sounds out of a PRS (did I miss something?)!! That new guitar is terrific!!!

As for take it off the hard drive, why even bother these days when storage is so cheap! Save it all, but organize, classify, tag it well!! Need a fresh 8TB of storage, $150!!!

Happy orchestrallin'!
MW
 
I've worked on this track quite a bit since finishing my last project the other day, and I'll post the revisions later, assuming that it sounds good on Day 2 (sometimes I fool myself into thinking the Day 1 score is great, only to discover that, no, it sucks). :(
 
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