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  • 8 bars of "Vertigo" using Vienna.....

    Ok here it goes .....8 bars of Vertigo....using Vienna Apass Violins and Vienna Clarinets

    (stage noiz from maarten)

    I'm excited...the autoload, I have been working on perfecting for the last 3 years is really paying off now....

    Years of referencing real recordings for eq (lots of subtractive Eqing!), space, etc....balancing

    It's all working now!.........

    Here it goes,

    Click on "Bernie_Test.mp3" (5th from top)

    SvK

    http://homepage.mac.com/WebObjects/FileSharing.woa/wa/default?user=svonkampen&templatefn=FileSharing1.html&xmlfn=TKDocument.1.xml&sitefn=RootSite.xml&aff=consumer&cty=US&lang=en

  • That sounds great. I love that score and have all the soundtrack albums on LP and CD, and the recent Joel McNeely recording as well as all the recordings of the suite excerpts. Too bad you can't do the whole thing without copyright problems, as this sounds practically perfect.

  • William thanx!

    The reason..I used this score is because the individual instruments are really exposed...allowing me to get my presets sounding just right for my own music......

    What I mean to say is.........Time and time again, I'll write a part, and discard it, thinking that it's no good, but that wasn't the case at all, it was that the eqing, and sound were off.......so by recreating, and match eqing, the sections to the mcneely score, gives me piece of mind....and now i can just write!!!

    This has taken years......but I'm almost there now.

    All I have left to do is the bassoons. ( I will use the exposed Bassoons from the Boulez recording of Bartok's Concerto for Orchestra as a reference )

    SvK

  • Interesting how you are using the McNeely recording as a guide for EQ, as I think that is one of the best sounding recordings I've ever heard in the clarity but also rich sound of the instruments. It is one of the best soundtrack music recordings ever done, without a doubt. And the strings sound so great in that recording - a perfect "appassionata" type sound with a lot of espressivo and portamento, etc.

    Also, on that recording the woodwinds have an extremely beautiful sound - the oboe and clarinet soli are flawlessly played and have a dark, lustrous timbre that fits the music beautifully. On the restored version of the film, they re-recorded the sound FX but did not use this new recording. I was disturbed by that. Because Bernard Herrrmann did NOT record the original. It was farmed out to another conductor/orchestra (Muir Mathiessen), due to a union strike, and the original soundtrack is mediocre in performance quality. Unlike Herrmann's conducting of his own scores, which was always great. Though he pissed off a lot of orchestras later in his life, he was a great conductor of his scores in the actual film post-productions. What were those restoration guys thinking? I feel that if you are going to completely replace all the sound effects, it makes little sense to keep a farmed-out mediocre performance of the single greatest music score ever written for a movie.

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    @William said:

    Because Bernard Herrrmann did NOT record the original. It was farmed out to another conductor/orchestra (Muir Mathiessen), due to a union strike, and the original soundtrack is mediocre in performance quality.


    That's right - if Herrmann had conducted Vertigo - especially the opening title, which arguably is the greatest opening title to a film ever. it may have been quite a bit slower.

    Very nice sound svon - although I was expecting the opening title figure. Stop calling Herrmann - Bernie btw. No one called him Bernie. Benny or Bernard.

  • Almost any section of this score (aside from the Sequoia sequence - a fantastic use of alternating muted brass and woodwind ensemble) would make a great string demo. But the ultimate Appassionata demo would be the love theme heard fully only near the end of the film when Madeleine is "reborn." That is a tremendous romantic yet modern use of strings. It has been compared to the Liebestod of Wagner, but is as great a piece of music in its own right. In fact, it is probable that this score is the best film score. The fact that it is for a film that is consistently considered one of the ten greatest ever made certainly doesn't hurt either...

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    @PaulR said:

    [quote=William] Stop calling Herrmann - Bernie btw. No one called him Bernie. Benny or Bernard.


    Bennie, Ben, Ben with a friggin' cherry on top! [;)]

    SvK

  • I did not write that, though Paul is right. That recalcitrant Limey is usually right. Like most of his countrymen. He is very irritable right now, so don't get on his bad side. [[:|]] Ever seen "The Limey"? They can be mean...

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    @William said:

    I did not write that, though Paul is right. That recalcitrant Limey is usually right. Like most of his countrymen. He is very irritable right now, so don't get on his bad side. [[:|]] Ever seen "The Limey"? They can be mean...


    Yeah - that's right. So watch out Svon or I'll have you decorating my house.

    [:D]

  • I've got great taste in furniture

    SvK

  • SvK,

    You did a lovely job on my bathroom. Thank you. The colors you picked are faaabulous.

    Concerning your eq:

    I DL'd the curves you had for the Pro Ed. strings and I didn't know if you used them on all the pro string articulations, not just the sus or perf_leg patches.

    Sorry for the OT direction, but this might clarify for me your approach with the App. strings. Oh, and I appreciate your work on the flute filter stuff, too.

    Clark

  • It's only 8 bars but I like them! Did you play with the fader volume for the strings section or did you use some specific samples from the Vienna ?

  • Greg,

    thanx.....


    Strings,

    Apassionata....Velocity crossfader switched "On" and assigned to "Mod-Wheel"

    SvK

  • PaulP Paul moved this topic from Orchestration & Composition on