Видео

Thank you! I like the adjective you used: "decisive". Very true.

@@OrzoMondo English is not my native language. I'm trying to find a word: stately, solemn, quietly moving, graceful... that's how this arrangement sounds.

It is quite daunting!

No, this is another tool, called MIDITrail: www.yknk.org/miditrail/

It's just a low-pass filter, the filter is set with lots of resonance, and the cutoff is closed slowly, so although the note is held, the high frequency component is gradually reducing, so at the end you have only bass, and there's this "sweeping" effect all the time. Fun :)

Thank you!!!

Thank you!!

Thank you!!

Thank you!

Thank you!

Thank you so much for listening and commenting! Wendy Carlos is a big inspiration to me, from the day I bought her record (it was an import :) in the 70s.

Thank you! You're not the first complaining about the octaves, but to be fair they're just harmonics. I always think that the bass might be a little muddled, so I add 8' or a 4' on top of the fundamental 16', a bit like an organist would do when selecting stops. I'll take heed of your advice though.

Thank you for listening!

It totally is!

Thank you so much!

Thank you!!

Thank you!!

Mastering is a thing that I discovered late, and I still don't master (pun pun). It's by far the most difficult thing in the whole process for me. When I master I try to tackle three things: 1. Stereo front and positioning 2. Equalization 3. Dynamics and loudness For No. 1 I do very little, my stereo front is usually quite wide already after mixing, so I only use one plugin (Ozone Imager 2) No. 2 is only for few overall adjustments, most of the eq. I do is already on single tracks, but I sometimes bump 1-2 dB up or down on particular frequencies, for example when the overall effect is too boomy or too thin. Best way to check is to listen in the car. No. 3 is the hard one. I use a 4-band compressor first, then another regular compressor, then a limiter. By tightly controlling the dynamics, you get a song that is louder (sometimes even -11 dB LUFS), that does not clip (I allow -0.5 true dB max), and that preserves the "impression" of piano/forte, without really being that much piano ever :) You can find relevant information in the following videos: ruclips.net/video/ZHXD-BlKyL8/видео.html ruclips.net/video/NisDvhx9sv0/видео.html and an example of how it's done here: ruclips.net/video/gV3ps4_sJkM/видео.html

@@OrzoMondo Hi Orzomondo, thanks so much for all of this. Well, unfortunately I didn't understand most of it and will probably send the next mix to a professional and see what results. If there is a significant difference I'll book some lessons with a master masterer.

@@grahamcaldecott There's a product from iZotope that uses AI to do the mastering. Too expensive for me, but worth mentioning. Also, you can go to www.fiverr.com/categories/music-audio/mixing-mastering and try out someone's services. Finally, it's really not that difficult to get into the details, it's difficult to master well :) (I know because I'm trying and I'm making very little progress), If you can spare few minutes, I found this to be a good intro: ruclips.net/video/D1_X0BmgDMM/видео.html

@@OrzoMondo Thanks again, this is Soooo helpful.

I can't take credit for that, it's Stephen Malinowski's wonderful visualization tool :)

@@OrzoMondo I'm long time smalin fan... He picks the best performances. Beethoven 5 mvt 2 is extrordinary choice... never heard anything like it. I did not know his software was public... Gonna give it a try!

Well, thank you, thank you. I confess that I make my videos also for my own pleasure.

Others try to do what you do, but only end up sounding like "Organetto a manovella", your work distinctly shows the difference, Tante Grazie

:)

Not everyone likes them, apparently. I do though :)

@@OrzoMondo Well... they're wrong. Objectively great choices.

It's not technically "The Great", but it's a great fugue nonetheless.

:)

Completely agree.

Thank you! I did really enjoy making them too.

So true!

Thank you!!

Thank you so much!!

They are actually quite easy, if you haven't already tried, search for the Music Animation Machine. You just have to feed it a MIDI file and you're done :)

Ah, you're not supposed to realize they're there, perhaps I exaggerated a bit the effect for show :)

@@OrzoMondo I've been watching the tutotrial series. Slight tempo and dynamics... all for it. Exquisite moderation.

Sono d'accordo, ma per me la gara è tra questa e quella in D#m/Ebm del primo libro (No. 8). Ho cominciato a lavorarci e devo dire che più uno la studia più è incredibile: è una doppia fuga, con il secondo tema che è il moto contrario del primo, e tutti e due i temi appaiono anche aumentati all'1.5 e al 2. Praticamente sei temi in tutto. Con sezioni con tre o quattro temi allo stesso tempo. Non so quando riuscirò a trovare le energie per finirla :) Grazie per l'ascolto!!

Thank you man!

Thank you!!

Thank you!

Thank you!!

Yes, there is a style (8bit) in which you go for the "static" effect, but I try to do something different :)

Thank you so much!!

Thank you so much for your continued patronage!

Thank you!

@@jinkela7295 Thank you! Totally missed it. The beauty of this process is that I can go back and correct :) Edit: In fact I did go back and correct the one you signaled, and I found that I had missed another one, at 0:39, on the 4th voice.

Thank you! You should also publish yours, so we can compare notes :)

@@OrzoMondo good idea! would be fun

Thank you!