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karelm

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About karelm

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    Recovering Sith Lord

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  1. First of all, it is not a bother at all! It is my honor to figure this all out with you and think this is highly polished. I think you have impressive drive and serious talent. With that said, question for you. Are you using multiple reverbs depending on the group and to play around with the 3D space? You might want to look into a plug in called Virtualsoundstage 2.0. This lets you place tracks in a 3D space within a virtual stage. Worth investigating. You can address this without a tool through EQ, prelay, panning, busing to several reverb channels, etc., but it makes the task easier. I would suggest the brass have more reverb tail and a bit less high frequency to push them further on the stage. The percussion and strings are fine regarding this. This feedback is in trying to make it sound as similar as possible to a live recording or the OST. Generally, I still think the strings have a chamber quality than the OST but that is nitpicky and something beyond your control if you have chamber string library (and a very fine one at that). Extend the length of the notes slightly on very fast passages. Examples where this becomes very evident is that run starting at 0:11 through 0:14, around 0:24, and the fast strings at 1:04, the winds at 1:11. Think of slightly extending the note duration of those very fast passages I mentioned because they would be played more as a slight smear. Some of the fast trumpet passages should be better phrased such as at 0:38 and 0:44 before the long notes. I consider this an impressive mockup, so do understand I'm nitpicking and your work demonstrates a high quality.
  2. Just a reminder that tonight at the Hollywood Bowl is the North American Premiere of James Horner's double concerto "Pas de Deux". More information here: http://www.hollywoodbowl.com/tickets/cinematic-sounds/2016-08-25 I just returned from the rehearsal and it sounded fantastic. It's a nice career retrospective with elements of Star Trek, Cocoon, some late Horner as well and a vigorous ending full of many trademark Hornerisms (rolling piano, bells, beautiful solo oboe, the Horner climactic riser, etc.). Though the work is mostly delicate, it builds nicely to a triumphant climax which had 7 percussionists plus timpani. The rest of the program is very good too (Herrmann, Bernstein, Gershwin).
  3. I think the point of the video is not so much "How to sound like John Williams" but things that John Williams does that you should add to your toolbox as a composer. John Williams has a toolbox that has Henri Mancini, Wagner, Korngold, Adams, Herrmann, Hayden, Holst, Count Basey, etc., etc. He knows when and how to borrow elements to make it musical rather than a hodgepodge and the end result is very distinctively JW.
  4. I actually meant the scores themselves were lost. All of the Rozsa MGM scores were tossed. Some of his sketches may have survived (I think they're at Eastman) but not the full orchestrations. Anyone doing those now would have to rebuild them from piano conductor scores or takedowns. Herrmann's slightly different because he orchestrated everything himself and much (but not all) of that has survived. Virtually none of the Korngold sketches exist; but the orchestrations done for the WB pictures survive because WB saved everything, or nearly everything, and they're at the WB archive that USC administers.
  5. You really don't know it's important until after the fact. Remember, every one who worked on Star Wars thought it was at best a teenage summer flick rather than a multi-billion dollar worldwide phenomenon with 7 films, spin offs, games, etc. In old Hollywood they used to throw away the scores after the recording. There are many famous scores by the great Golden Age composers that is in a trash dump since it's goal was to get recorded and no one thought it would be important or worth keeping for no real reason other than the future significance of the composer or film.
  6. Oh, I see. That explains it with the strings. One thing you might want to try is loading up 3 first violin patches and play them just a little differently each time or just get the timings to not be 100% identical and pan them so they are spread across space rather than all on the same spot.
  7. If we use his signature, can we add this quote right before it: "I don't always use a composer, but when I do...I prefer JWfan.com...well, except some of those members drive me crazy. Ok, how do I stop this thing from recording?" - John Williams
  8. I think it's sounding really good, Jilal. Especially after putting in loert's feedback. The strings are pretty tough to get realistic but it sounds better now. Are you panning the unison strings? Like Violin 1 at further left than violin 2. Basically, to give it a broader stage presence without making it louder even though they are doubling each other or an octave apart, it doesn't have a great sense of space. But I like it. Is the brass library modeled rather than live? It's pretty good other than relative balance.
  9. Sounds very good but the strings are a bit too synthy. You might want to overlap the notes a bit or maybe use a legato patch. Is that passage using strings in octaves? The mockup sounds high string heavy.
  10. Falling somewhere between John Adams and Arvo Part lies Lepo Sumera. This whole CD is very fine but I especially love Symphony No. 2 with his powerful and chaotic ending. I find the gradually intensifying ending of that symphony extremely effective. Reminds me a bit of a modern version of the last movement of Scheherazade in its constant build. Very unstable and extremely effective. Like Scheherazade, it is full of tam-tam smashes, harps, and ends with cataclysm in the low brass followed by near silence. I absolutely love how after the ferocity and that final high B flat on the trumpets, we are left with the most delicate harp that was playing throughout the devastating tumult. To me, No. 3 has a somewhat sci-fi feel with the overlapping polychords. An interesting piano+vibraphone mid section followed by extreme stillness in the finale. A wonderful composer who tragically died way too young.
  11. Yes, that and the original binary sunset without the ornamental winds.
  12. I agree with you - that is a great score. I love that scores in that time period used to be like a mixture of styles with a dramatic concept. For example, Logan's Run the first half is odd synths only. The second half is lush orchestra only but it fits the narrative as the story unfolds. Also, Close Encounters is strange/avant garde in the first half as we and the characters are mostly fearing the unknown and then it shifts to adventure then finally awe and wonder. I find the same with Star Wars but that is more like a steady build but I always found the first act music to be very atmospheric and exotic where the energy builds and builds as the story does. It is like they were scoring on two levels. The text and the subtext. I don't recall the last time I heard this style of scoring in a contemporary film.
  13. John Veale's Violin Concerto is exceptionally gorgeous:
  14. Yeah, and a grizzled old Indy saying "aliens...why'd it have to be aliens" before he pulls out his revolver and mows them down. The alien princess says "but wait, we come in peace" to which Indy replies "and you'll be going back in pieces" as he hurls a live grenade to finish off the last of them.
  15. There are tools that help with this. Google deverb and noise gate. Like this: https://rxcookbook.izotope.com/reducing-reverb-rx-de-reverb-module