Great composition, Paul. You do really honour to the VSL brass instruments. And I agree with William, it should (must) be performed live. I guess many quintets are waiting for such good music.

I wish you lots of courage and a good and full recovery, so that you will be able again to commit yourself fully to composition, your great love.

All the best!

Jos

Hi Michael,

The most frustrating part was, that I couldn't possibly think of a logic cause. Since I never use Program Changes, I didn't think of that controller until I suddenly saw it in my piano roll. At the bottom of that window, the controller showed a 0 value. I remembered that the Matrix list can be commanded by Program Changes and by key switches (which I always use), so I decided to remove the redundant controller and at once the problem was gone...! As it happens so many times, the most impossible issues seem to be generated by the most stupid and trifling causes. The problem is to find them.  And again the solutions are always there when you don't expect them anymore.

In my setup, all instruments were affected (they all had (for some unknown reason) a Program Change controller).

Thanks for your reaction,

Jos

Hi Dietz,

Almost by accident I came across the culprit of this misery. After some reasoning I had some suspicion that some controller with a hidden value might be the cause and indeed. All the tracks had a "Program Change" controller (which is not being used) with a value "0" (almost invisible because at the bottom). That controller provoked the position 0 of the instrument list, which is always a staccato in my setup. What I don't understand is that my instrument list and matrix cells are selected with key switches, NOT with program changes and key switch button is selected under the matrix list. And yet...

I have no clue why or how the Progam Change controller was added. Maybe it is a standard insertion in the new Studio One 4 version. I'll have to check that out.

The good thing is, problem solved and issue closed.

Thanks for your cooperation.

Jos

Thanks a lot Dietz,

Unfortunately, what you suggest about the controller reset or an "All Notes Off" command is not the case. I've contacted Presonus for that matter and they advised me to delete all the settings in that piece, start it again and check. Nothing changed...

It has nothing to do with the position of the playhead either. It stays nicely where it was before the stop. Only the articulation keeps jumping to the first position in the matrix list. The odd thing is, that such behaviour never happened before and it doesn't reproduce itself when I set up a new piece for testing purposes. So it must have something to do with the actual piece and its settings. Strangely enough it comes back after deleting all the settings in Studio One. That's why I assume that it could be something that I accidentely fiddled with in VI Pro...

Kindly,

Jos

Hi,

Lately I have a strange behaviour in my VI Pro 6 instances.

Everytime when I stop or pause a playback in my DAW, all the VI Pro instances jump back to the first cell in my matrix, being staccato.

The playback is normal, with all the correct keyswitches, but after a stop, they all go back to the first oen, staccato. That happens always after a start or pause. It looks like that cell is considered as the default one to start with.

I Work with Presonus Studio One and the helpdesk doesn't know why this is happening. Could it be a VSL matter? Something that I've overlooked duriong my setup?

Thanks for your help!

Jos

The same here.

Sometimes it has to do with the Server 64-version. Always open the server first (before starting up S1). In my set-up it helped...

Jos

Post removed due to unwanted misunderstandings.

Jos

Fantastic performance, Leslie.

I'm quite fond of the close recording and detailed execution, especially while it is so difficult to 'tame' the vibrato with the solo strings. You did a terrific job here, coming as near as possible to the period playing technique.

Well done, congrtas!

Jos

William, this is very impressive and a surely working combination of brass ensemble with pipe organ. I can clearly remember so many wonderful and appealing recordings by Maurice André with all kinds of (baroque) organs. 

This is a composition that speaks so well for brass and cannot be made but by an expert (in brass). I'm sure it will work out nicely in any church with an organ that is powerful enough the counterplay the brass parts. 

The chimes are a bit unusually loud to my ears (did you have real church bells in mind?). But as a whole, again a fantastic composition. Hopefully Tom's ensemble can play it soon!

Thanks for sharing,

Jos

Hi Dave,

Most of the (sparely) expressed comments bear my consent, I share the same opinion, except for the flute. Being a flute player myself, I don't really like the sound of the instrument here for two reasons: the flute seems behind a curtain on the stage and sounds differently, missing all the clarity of the piano. Second: the normal (windy) attack and the breath flow (as William mentioned a bit) doesn't always sound very natural. It may have to do with the recorded samples and their player, but I'm sure the approach could improve things a bit. A modern flute should scintillate warmth and richness in it's tone, a nice swelling vibrato (technique most flute players have to learn) as you perform in some place, but not enough. Staccatos should be dry and short, very punchy and have a sharp starting sound. They're not just blowing the flute short and hard, but use auxiliary means like tongue, lips, even teeth (and that is different from a clarinet obviously).

But let's focus on the composition itself. You chose to write a fantasy and so you did in many wonderful ways. The piano dominates but the flute nicely fends and takes eloquently over in brilliant sentences. The rich and carefully chosen harmonies provide a small touch of exotism (in a rather classical context) and lift the charm of the entire piece.
Dave, you certainly know how to please a broad audience. This piece could absolutely be a chamber music hit!

Jos

Wrong post

Hi Dave,

Finally I've found the time to listen to 'The Fall of Man'.

It seems very cinematic to me and out of your normal comfort zone. But that doesn't say anything about the qualities of the piece. You skillfully melted different styles and genres to one beautiful organic entity with so many subtle and craftlyl designed sonic patterns. The somewhat unnatural balance within the orchestra gives it some touch of studio recording, wheras the strings put us back on the concert stage. Let's summarize the composition as surprising and refreshing. Not an highly innovative piece, but with so many creative ideas.

I agree with the rather dry ambience. You know I prefer close recordings, but in this case a tiny little bit more room would improve the overall sound experience.

Congrats!

Jos

A different and fun having Dave!

It's obvious that you were enjoying yourself playing around with a strong (cinematic) theme in your DAW. I wish I could do that as well. My piano skills are far too limited to compose that way. Moreover, I must see notes on paper (screen). Improvisation is mostly my starting point, but often themes are created in my mind, mostly during the night...

Anyway, I liked your piece. It's a distraction from the so called serious work.

Thanks,

Jos

Hi Jerry,

Wonderful piece! I love the performance and the mix (with the voice).

Thanks for sharing,

Jos

Hi William,

I couldn't resist listening to this ancient dance (as a predecessor of the 18th century dances I usually deal with). You've hit the very essence and spirit of the music in your performance. The tuning makes it more a period performance and therefore more believable. The humanising is perhaps a bit exaggerated, but it contributes to the impression that a live band is playing. Very enjoyable indeed!

As to the temperaments and tunings, I didn't care much about at the time. I loved the Werckmeister III most to play the 18th century music, but since we had modern instruments in my ensemble, it was not an issue to use other than modern tuning (although the strings could play the historic way). Knowing about all these temperaments and their implications, it made my admiration for the old masters grow a lot. Composing had a lot more limitations (as to the use of scales and instruments) than nowadays. Despite all this, they wrote such beautiful and everlasting music!

Thanks for sharing your piece and opening such a discussion.

Jos

Hi Fabio,

I don't exactly see where you're going to. In the classical writing tradition, it would be highly abnormal that the second violin plays above the first violin in a plain harmonic progression. On the other hand, if you would want to write in a more counterpoint style, there can be any movement by any voice if you would like, depending on the leading voice. I gues your sequence here is not your motif, but only an example?

Jos

Hi Johannes,

I really enjoyed the music and it doesn't matter at all whether it sounds like film music or pure concert music. One thing is sure: an orchestra programming such music will reach a broad public. The music has enough refinements to seduce even classically trained ears. Of course not everyone will be as enthusiatic, but it all depends on what you're after in music. When you go for filosophic deepening, your piece will not offer enough. But who cares, most music has been written to please an audience in style and habits of the period. Nowadays a lot of music lovers only know film music and music that tells 'a story'. I'm sure you could have written a totally abstract piece as well with your orchestration and compository skills.

Thanks for sharing,

Jos

Hi William,

While I'm doing the very tedious and boring job preparing my orchestral scores for live performance, it was a welcome and pleasant surprise to hear your film score.
Really nice orchestral music in a brilliant orchestration. I especially like the way(s) in which you treat the main theme. The version around min. 5 to 6 is absolutely wonderful and so delicate. 
I can imagine that it was hard work. Not only the music is outstanding, but the rendition and the mix (typical for film scoring) are of a very high standard too.

As I said, it was a real pleasure to hear these 18 minutes of quality film music by a well inspired and real craftsman.

Congratulations!

Jos

Hi Stefan,

This is a good composition. I suppose it's an onset for a larger work? Sonically it's pretty much OK. I wouldn't change a lot. Of course one might discuss the amount of overall reverb, but that's mainly a matter of taste. As long as it sounds natural, it's fine to me.

The rendition is transparent enough to hear every single detail in the orchestra and the dynamic ranges seem more than enough.

Well done!

Jos

Thanks Paul.

I guess this is only a matter of taste.

Some prefer the Vienna Suite version with the chamber strings, some the last version with the dim strings and MIR. I'm glad I did three different takes for the sake of acustic practice, although I have to say that with MIR I had to adapt the mix as well and some articulations (which were suddenly too harsh). One is never too old to learn...

Cheers,

Jos

Thank you Fatis and Dave!

And today I've added the final mix and variation. This time a version with the Dimension Strings and MIR. The previous versions both used the Vienna Suite, Synchron Stages wide (IR) and MIRacle Synchron Stages E for the overall reverb tail.

I hope that comparison is interesting enough. Luckily, it's a pretty short piece...

Jos

Thanks fatis

Actually there is no 'continuo', but an obligato. Indeed the winds are fairly dominant in the ensemble. Their role is rather important, not just colouring. That's why you might experience them as out of perspective. Maybe I could lower a litlle bit the WW-section compression.

Now I've made still anoter version with MIR. The little piece is meant to practise with all possibilities of room sound and depth. I'll post that version as well to compare.

Jos

Hi Fabio,

Nice to hear you again. Thanks for the listen!

Today I've added another version (it's part of my learning project) with the Dimension Strings instead of the Chamber Strings. Quite different mixing and EQ'ing.

See original post.

Jos

Thanks Paul and Dave for the listen and your nice comments.

To tell the truth: I chose these two dances to practise again with the old fashioned means: no MIR or another ready made acoustic environment. Everything was done with the Vienna Suite (IR and Reverb, panning, depth, EQ...) I wanted to go back to the roots to learn how an ambience is made. For that purpose, a longer piece was not necessary. So an old approach.

Today I posted a remix with some stero field improvements (the mid field was too empty in the first mix).

Thanks,

Jos

Hi Dave,

Are you reaching out for Halloween?

A fantastic piece, with so much refined ambience. You mention the film noir and thriller, scary... All these emotions/feelings are eloquently present as if the composition was written with a well defined purpose in mind. But apart from the non-musical content, it shows again how masterfully you deal with sound shaping and instrumental techniques. The bass clarinet is simply outstanding and more than realistic both in sound and playing technique and it fits so well here in this context. But the strings (again with a number of exquisite effects) figure adequately in the role of ambience makers without losing any musicality. In one word: great!

I enjoyed (right choice of words here???) every single second of it!

Jos