Smooth transitions are overrated (Part 1)
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- Опубликовано: 2 окт 2024
- Pulling the rug out from underneath your listeners is way more fun :P
Full piece: • A Beacon in the Cosmic...
Part 2: • Smooth transitions are...
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Lots of people have been asking about the libraries used, so I thought I'd just add them to the video description here:
WOODWINDS
Hollywood Woodwinds from East West (Main)
SOLO from Audio Imperia (Main)
2001 Piccolo Shire from Soundpaint (Main)
Infinite Woodwinds from Aaron Venture (Layering)
BRASS
Infinite Brass from Aaron Venture (Main)
Solo Trumpet from Norrland Samples (Layering)
Cinematic Studio Brass (Layering)
PERCUSSION
Hollywood Percussion from East West (Main)
Spitfire Albion I Legacy (Main)
STRINGS
Pacific Strings from Performance Samples (Main)
Hollywood Strings from East West (For extra articulations)
Spitfire Studio Strings (For Double Basses)
While these libraries work great for me, remember that a good orchestral mockup isn't reliant on the exact libraries you use. Rather, it's all about playing to your own libraries' strengths, as well as knowing how to write idiomatically for each instrument in the orchestra. There's no shortcuts here - just years and years of learning and practice :)
those woodwind shrieks work so gooood
Flute & picc go brrrrrr
Huge wall of sound, wow, how many tracks. Sounds amazing.
The transitions still sound good. It be must natural for you at this point. So much skill.
It's definitely taken practice! But creating a coherent transition between two contrasting sections of music is one of my favourite compositional challenges to tackle :)
Sounds epic man!!!
Cheers buddy :)
This is really good! Do you have tips for working with East West libraries only?
Thanks! Regarding East West: I actually used to main their libraries until around 2022 - main reason I shifted to other libraries was because they ended up removing a bunch of stuff from the OPUS engine, like being able to turn down the volume of the legato transitions when they stuck out too much. However, I suppose my main tip would be to play around with the release knob - I found that a lot of the legato/sustain patches in Hollywood Orchestra had their release times set way too quick, and it was noticeable even after adding reverb. Increasing the release time to around 500ms made them sound a lot more natural. This especially applies to the legato patches in Hollywood Strings. I'd also pick patches where it's possible to control both dynamics and vibrato - I've got two faders on my Korg NanoKontrol set to CC#1 and CC#11 specifically so I could control both parameters at the same time while playing stuff in on my MIDI keyboard.
Other than that, it's all about going through each library and finding patches that are playable while also sounding realistic. As an example - for me, the legato Flute 2 patch in Hollywood Woodwinds was way more playable than Flute 1, and it sounded gorgeous (in fact I still use it from time to time, although the vibrato controls are a lot worse in OPUS compared to their older PLAY engine). I also had a strong preference towards using the "Slur + Port" patches, because I liked being able to control which notes I could glide between based on my own experience as a string player (you activate the slower portamento-style glide by pressing softer on your MIDI controller, and then pressing harder when you just want a straight legato transition with no glide). Those patches are a lot more resource intensive, but they make quite a difference, especially when you learn to control vibrato and dynamics at the same time like I mentioned above.
Apologies for the text wall! If you have any more questions, just let me know and I'll try to answer as soon as I can :)
Fantastic sound! I wanted to comment that it sounds like big impressive storm and then i saw the name of the full piece xD Great work.
Hey, thanks! Super glad to hear that the stormy vibe came through even before you saw the title haha :)
Sounds great!
You’re so talented!
Hey thanks, I appreciate it!
smooth.
Very nice
Beautiful!
Sounds like any other dramatic film or video game piece.
Definitely can't deny that at all! Being in the early stages of my musical career, I'm still in the process of finding my own unique stylistic voice. Part of that process involves creating a tonne of music that sounds similar to existing work that has inspired me, so it should come as no surprise that a lot of my output sounds somewhat generic. But having said that, I'll always maintain that it's not necessary to break new ground with every single piece you create - in fact, it's a pretty unrealistic expectation to have of anybody, let alone yourself. Rather, I just focus on creating *something*... and occasionally I'll stumble across something that makes me go "hey, I haven't heard that before" :)
As a side note, this piece did get selected to be recorded by our national orchestra in October, so I must be doing something right!
What kind of plugins do you use? Those woods are insane!
I've amassed a sizeable collection over the years haha - the woodwinds are a mix of Hollywood Woodwinds (East West), 2001 Piccolo Shire (Soundpaint) and Infinite Woodwinds (Aaron Venture). A full plugin list is on the description of the full piece (link in this video's description). Thanks for checking this out!
Amazing! This needs more views
No, YOU'RE amazing :)
(And thank you!)
Awesome! Keep up the great work!
Thanks heaps!
@@VIUSmusic You're welcome!
u r overrated
Yep! But not as overrated as a smooth transition :P
@Stormtrooper1964 ur username is overated :P
☹☹☹☹☹☹☹