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On a recent visit to ILM, I saw Star Trek 11 being worked on. In it, all the original characters (Kirk, Spock, etc.) are young and fresh out of the academy. I wondered if it was possible to reimagine the "club lounge," dated sound of the original theme for a modern palette, while sounding youthful, energized, and giving a nod to the great Star Trek music legacy.
Here it is:
[url=http://www.mikeverta.com/Posts/ST_Theme_v1.mp3]Star Trek Theme[/url]
Enjoy.
_Mike
@mverta said:
On a recent visit to ILM, I saw Star Trek 11 being worked on. In it, all the original characters (Kirk, Spock, etc.) are young and fresh out of the academy. I wondered if it was possible to reimagine the "club lounge," dated sound of the original theme for a modern palette, while sounding youthful, energized, and giving a nod to the great Star Trek music legacy.
Here it is:
Enjoy.
_Mike
@William said:
This is fantastic - a really skillful blend of extremely different genres. James Horner ought to be listening to you!
@mverta said:
Wait, I'm confused...!
I wrote/orchestrated it on paper Wednesday, and then yesterday I played it into Digital Performer, triggering Gigas. So it's all virtual, yes. Is that what you're asking?
_Mike
Care to share any more details? Was it VSL? Which sets? Reverb, etc. Sounds quite real.
Great arrangement and production Mike!
@PaulR said:
You need to reach out for your dark side Mike - and get Herrmann into your life. :)))
You assume I don't have a life-long love of Hermann's work; that I don't listen daily - almost obsessively - to Hermann film scores. And you know what they say about assumptions 😊 😊
Truth is, some day I'm going to get a chance to use all the cluster tricks I've learned and then you'll be sorry. 😊
By the way, at a concert dedicated to Williams and Hermann film music (conducted by Williams and hosted by Spielberg and Scorcese), Hermann's stuff sounded better live than Williams' did. Just an interesting little tidbit there...
_Mike
@cug said:
Care to share any more details? Was it VSL? Which sets? Reverb, etc. Sounds quite real.
Thanks, Carlos; Thanks Jay...
Instrument-wise, honestly, it would take forever to sort it all out - you can't tell just by looking at the instrument names (at least I can't) which library they come from, but I can tell you the strings are all Sonic Implants. Brass and Woodwinds are a combination of VSL, SI, and SAM stuff. Brass looks mostly like SAM and SI, and Percussion is a lot of SAM and True Strike, with some LOP and VSL thrown in from time to time. I have 5 Gigastudio PC's absolutely packed to the gills. I have some thread on here from probably a couple years ago when I was just staggeringly frustrated with the sound, and I've basically tweaked it to some degree every day since. TONS of custom patches in there, too... almost no stock instrument performed the way I wanted it to for one reason or another.
The Giga's all feed digitally into a couple of 192 interfaces for my Pro Tools rig. Digital Performer and Pro Tools run live at the same time on my Mac - Pro Tools just stays in monitor mode all the time in the background while I work. When the sequence is ready, I just kick Pro Tools into record, pop back into DP and start the sequence. Works flawlessly; I've never had a hiccup or crash.
I can't stress enough how long it took to get those profiles to work together - I find the settings extremely sensitive, and I still tweak things from time to time. Some of them use stage positioning, others not. Just depends on the sound. And in all cases, each section has an additional EQ plug-in on it, with some seriously wacky and extreme curves, which go a long way towards helping place things together in the "room." Though interestingly, each of the sections sounds good on its own. I'm not really sure how I got all this to work, beyond some insane number of hours of experimentation.
The Altiverbs provide the room, and then like a real recording, there is an outboard reverb on the whole thing, which is handled by another plug-in: a modeled Lexicon 300. I dial that up or down globally depending on the cue. I watched Shawn Murphy do this many times, so I just tried that.
I think, overall, my group works well together, but I also think it lacks the real presence and air that is possible, and that I've heard from other people in small doses, but never as a whole group. An honestly, I don't care enough to re-do the whole thing anyway. As mock-ups, these seem to get the job done.
Thanks again for such kind words!
Best,
_Mike
@mverta said:
You assume I don't have a life-long love of Hermann's work; that I don't listen daily - almost obsessively - to Hermann film scores. And you know what they say about assumptions 😊 😊
Truth is, some day I'm going to get a chance to use all the cluster tricks I've learned and then you'll be sorry. 😊
By the way, at a concert dedicated to Williams and Hermann film music (conducted by Williams and hosted by Spielberg and Scorcese), Hermann's stuff sounded better live than Williams' did. Just an interesting little tidbit there...
_Mike
Which IR's are you using on the string sections. And an you post pics of your Altiverb settings .. I'd love to try these out. . TODD -AO is a nice room but I'm having trouble getting it to sound lke a nice good room .. can get it to sound real .. but not good real :P@mverta said:
I have 6 instances of Altiverb running, one for each section, with an additional for Percussion. My first instinct was to use the same profile room for each section but time and time again I found that mixing different profiles seemed to yield results more like what I had on live sessions. Currently, my Woodwinds use the Trackdown Scoring Stage, my Horns and Brass use the Brugge Concertgebouw, one of my Percussion uses the Sydney Opera house, and one of them uses Trackdown.
