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Hi,
Hi martijn,
very nice piece, beautifuly performed. Just, you should increase the level of second violin at right, which is little crashed by the harpsichord.
Where did you find the score ??
Best. (and Happy new year !!!!)
Philippe.
Hi Phillipe,
A happy new year and one filled with producing lots of music to you Phillipe.
Thanks for taking the time and your observations. The right side of the cembalo indeed overlaps the placement of the violin, I see now.
The score I borrowed from my fathers library, so not from the internet.
regards,
Martijn
This sounds great Martijn. My only criticism was similar to Philippe as I thought the harpsischord should be placed farther back, more localized, and not as loud. It is too dominating and since it is a typical figured bass part does not need to be loud at all. Also, the two violins would sound much better together, separate from the other instruments. Those are simple fixes though - the performance is great. Also, I love this piece - it made me appreciate the brisk, simple form of Scarlatti. He doesn't waste any time at all. No long-winded boring development here. That is an extremely charming piece of music.
You can leave that to scarlatti[:D] William. I suppose it kind of easy listening genre, but with a sense of aesthetics though.
I have adjusted the location, size and volume as suggested.
The combination of violin and cembalo is not quite forgiving I feel. In this case the recorder may mellow the sound a bit, but is fascinatingly easy to get something harsh sounding with those instruments. Similarly the line between a harsh and dull sound is apparantly thin.
Thanks for your feedback.
Martijn
This is indeed a beautiful piece of music. As you and william indicated so eloquently and with precise and an educated fervent. If i may add that whenever william does give his opinion it is always right on the money, but whenever one tries to re adjust those mixes, they seem to always never fit quiet right as the original mix. Maybe being as one starts an atmosphere and has to go with it all the way to the end by its sensual realistic mix. I don't know, it just seems that the original has so much time and effort spent from the beginning that to re-mix something is as using a good capture with a microphone from the beginning and out performs having to re fix a bad capture. The same with phillips Bach's flute concerto, william suggested to set it back some, and rightfully so of-course, but it wouldn't quiet fall in the pocket as if it was from the beginning mixed in that perspective just the same. Anyway, having said all that, these pieces of music keep me coming back to this forum and just keep one's everyday life all worth it. from any mix. At this point any of us would give anything if we had written anything of this magnitude and professionalism. Not that no one can do it, but it takes all that much of living the previous lifetime and falling through those cracks.
Also, if i may add, the brisk simplicity in which is so describes Scarlatti, and rightfully so is in comp-arising to Rameau's level i suppose. But only in comparison to Bach, Beethoven and the rest. These masters that came before anyone else are a handfulhandfull that are in a league all of their own. The premature keyboard instruments they had at the time in return gave us the advanced orchestral arrangements to follow, rich in contexts and detail and aesthetically highly experienced and correct as you eluded. What a treasure to reach for.
Having said all that again, This should have gotten Ericos corpuscles to boil somewhere at this point. For i might have stepped somewhere on his suggestive commandments:
Criminal Over-Doubling, Notation: Yes! It was meant for Musicians, How to Compose without Electricity (not for the fainthearted), Composition vs. Con-position (aka Organic Growth vs. Crazy Glue), The Unbearable Lightness of Being Hans, The Incalculable Difference Between Actual Composition/Orchestration Lessons at College or Privately vs. Compostition/Orkestration Online "Courses" for the Deaf/Blind, Composters or Orchestrators: Who Actually Deserves the Music Credit Today? P.T.Burnam's Circus Bluetooth-Mouse and Compostitional Techniques for the 21st Century of Great Music.
Hilarious and in its class all on its own. lol
Do we give credit were its due anymore?
If i had it my way, i would just buy me a computer, buy samples, make noises with it. paste it all together. create a market to say. Yes you can do it. listen, its car horns honking and hot air blasting from the rear end. Anyone can do this, therefore buy the cd. And tell all your friends, when they buy the cd then its a million dollar market as opossed to one or two falling through the cracks. I tell you, its a mega multi market. Yes you can do it too. Oh and turn it up loud at the trafic jams and the trafic lights, stop signs, cross intersections. Turn it up, yes you can do it too. 350 million people buying the cd. Everyone falls through the cracks... Go to your nearest dealer and buy the computer and samples and be somebody. Do not let any of those old funny named composers scare you. This is the real world we live in..
My oxycodone's are starting to wear off ... time to take some more ...
Martijn
I know what you are talking about, as I have experienced that. In doing one of these performances, your brain adapts to the sound you are creating. you cannot change it. I know that all too well. I would say don't change it. Because it is already good. Unless you get an inspiration. Maybe then? I don't know. I don't trust those either...
This is incredibly true. If you make a minor to drastic change to any one instrument or one part, you can be absolutely certain it will affect the color, volume, balance, affected image, detail, insert on and on and on. I have found out so many times, that if I have one tiny AHA moment in my music near the very end of mixing or mastering, it can cost me many many days or weeks to reconfigure everything due to that one AHA moment. Most of the time, it's not worth it. Especially, when the sound is normally very close if not exactly WHAT you were trying to do in your head. If it wasn't your intended decision during, then it can also become your decision as time goes on and your ears/brain adjust to the sound.
I too wouldn't take any criticisms or advice as to do anything to harsh on a current project unless you truly find yourself unhappy with it, or the person who is paying you for it is the one asking for/suggesting changes. I guess also, if this was simply a piece you were doing for "learning", then so be it. Go back to the drawing boards and try everything you were suggested. If not, keep it in it's current state and A/B your next song with this mix and see which "you" prefer, because what you prefer is always the right choice.
Maestro2be
@Dar32: Thanks, I'm still keen to do those videos...
@Martijn: I enjoyed this thoroughly. I'm never too critical of people's attempts at orchestral simulation - unless they are hideous or mixers are arrogant about inferior work - because I know first hand how hard they are to do. In this case it is so well done that I would almost be nitpicking: I feel that this recording would reach even higher levels with some "breathing" within phrases, and even bars sometimes, and more evident phrasing in general, especially when the tempo is moderate or slow; as well as a little more dynamic range. These are my two suggestions for what they are worth. Congratulations.
Hi William,
P Paul moved this topic from Orchestration & Composition on