Update Performance Trills on Woodwinds

Tritsch tratsch Polka 2 - VSL

Hi Marcus,

Sounding good so far. I like it. If I might offer one thing, you would get a clearer mix with low cut filters on every instrument to eliminate the room noise buildup.

I'm looking forward to the next installment.

Paul

Now made some EQ Adjustements, the Snare and Brass was producing lot of Noises.

Work in Progress - Tritsch Tratsch Polka Mockup 4

Originally Posted by: mw design

also EQ Adjustements on Annen Polka. To get the Dynamics like in a real Recording is a huge Task. I dont have any Doubt that its possible with VSL ;)

Work in Progress - Annen Polka Mockup 2

The beginning is truly excellent. As more instruments come in, the room sound starts to build up. However, I should not keep harping on that. It sounds good. And you are making steady improvements.

Paul

Originally Posted by: mw design

Thank You Paul, One big Challenge I see is to get a full Stringsound. I basicly use Dimension Strings on Top in every Piece. Somehow I miss the Edge in Cello and low Register of Viola.

So this is a Question I have almost for a Year now. maybe a good layering with Brass or Woodwinds to get the Edge in the mid low Register or Compression ?

I'm sure there are multiple alternatives. I am still learning, so perhaps what I am doing is not the best way. For me, I find that using multiple libraries is the answer. Synchron Strings can have a lot of edge, but I do not like them alone. I layer them with VSL orchestral strings AND VSL chamber strings. I am working on a midi performance of the Dvoark 9th. In this case I also added Spitfire Symphonic Strings. Here is a bit of that.

Dvorak 9th

Hi Markus,

I listened to borth your examples, with their improvements. Great that you continuously question yourself and try to realise better performances. So I can only cheer for that attitude. That's exactly the way we all had/have to walk. And after 5 years, I still have a lot to learn.

So I like your attempts. Paul is right about the building up of the room sound. EQ'ing won't solve the problem alone. A good setting will be necessary (not per definition the traditional orchestra seating), so that you make room for every single instrument/group to sound freely (panning, EQ'ing, volume balances per channel, ER and ER delay, releases per instrument/group...). All these elements can pile up and build an amount of unwanted sound, together with the usual reverb in the master. Compression won't change much. I only use it to correct balance details, so very modestly.

You could start balancing with the middle sections (violin II, violas, clarinets...) and go downword to the lowest instruments. When all these are in balance, you could start bringing in the higher instruments (violins I, flutes, oboe...) and set their correct volume.

A good advice: don't mix the note and articulation input with the acoustic matters (depth, panning, reverb). These are two separate things which you should keep apart. Let alone the mastering!

I hope that will help you a bit further.

Keep up the good spirit!

Jos