This is a solo piano from Remember Tomorrow, the film score I have been re-recording.  It is a smoky bar with inebriated patrons listening to the main character playing in the corner...  The main motif is later developed in the orchestral score. 

Remember Tomorrow Bar Scene

That looks like a great collaboration and very interesting to see the interaction between the live players and VSL.    

Tom, it is not a commercial project at this time. It was a commercial disaster at the time it was made.  So you are right - at this point, there is some masochism involved.  But I love hearing the VSL sounds and have had a goal of getting old scores that were not properly played previously,  recorded especially in this case with Appassionata strings.  This is actually a very small orchestra in the number of parts, with five string parts, one flute, one clarinet, two Dimension horns, trombone, bass trombone, percussion, harp, and the soloistic piano part.   As it is I have the Appassionata doubled with Solo violin 1 and 2, solo viola, solo cello 2, chamber cellos. Also orchestral violins on violins 2. So it is actually a large number of string players but a small number of parts.   I am thinking of trying another  approach with a tiny number of players using just the solo strings and a few Dimension players. That would be a realistic ensemble for a studio orchestra playing this kind of music.  

Errikos, thanks - however the film is just horrid.  And it is not a horror movie.  So it should not be seen. It needs to be destroyed, with the entire negative going up in a bonfire.   

I should probably create a description of the plot though, which I still like,  when I get the entire thing together. And then, a listener could possibly create his own, far better movie in his mind. 

Here is that track that gave me a headache- 

Night Chase

Thanks Tom and MMKA!   The synthesizer tracks were additional music that was needed after the orchestral score had been recorded with a small group of players (university students whom I recorded illegally in an auditorium on campus and got in trouble over).  Those additional tracks were done with a Yamaha DX7, Roland S-50 and a Proteus module and were just played into the tape recorder with no MIDI or written score so that was part of re-doing it.  There is one insane cue that was weirdly chromatic  in 7/8 and I am still unsure if I got it exactly right!  (I will put that one on here for your amusement...)   Also, those tracks didn't exist any more in a separate music track, only the full mixed soundtrack,  so to orchestrate them I had to avoid listening to the footsteps, dialogue, trains going by, a lot of screaming and glass shattering.

This is a "lost" score in that it was marooned by a film, Remember Tomorrow (1998) a time travel love story (with a higher body count than Somewhere in Time) that was never released.  So the score sat around ever since. I recently started re-recording the entire thing with VSL. It consisted of the original handwritten score, some MIDI I had done long after the film production, and old synthesizer cues that were recorded without MIDI directly into an 8-track 1/2 inch tape recorder. So it was somewhat grueling to work on, though actually very fun to hear Appassionata strings combined with Solo Strings playing it!  I have put a couple tracks up but want to release the entire score. 

It uses the Viennakonzerthaus MIR Conductor's position with Miracle close hall enhance.   I am thinking of experimenting with some different venues.

Remember Tomorrow - MainTitle

Remember Tomorrow - A Day Together

Remember Tomorrow - Main Theme

Thanks for asking Dave!  I have it about finished though am discovering large errors in the printed score which ended up being 84 pages long after doing 30 pages of orchestrations of the old synthesizer cues.   I think correcting music scores has got to be the most difficult typo-searching a person can do.  But you know all about that...

Agree with all those positive comments! It is some amazing programming of the cello, and a really fine composition.  

That piece is sounding good, lots of variety to it.  I like that memory you posted! 

Yes, I will try to get it done soon.  Thanks for your interest. 

I have been working on a "look" at a very easy way of using VI/VE/MIR which actually are very straightforward to use.  

It definitely does not take 7 months - I couldn't do that myself!  Maybe a half hour?  (I'm lazy...)

Wow, that is just perfection.  It is masterfully done, and so pleasurable to hear every note.  Interesting how totally different from his Daddy C.P.E. was.    In fact, he would have SHOCKED Johann Sebastian.    

Or was that Synchron? I'm not sure which library was used.  

Somehow the first Synchron version sounds more suited for this kind of scoring.  It seems to fit the style perfectly. 

That sounds excellent - very interesting to hear these short but intense works.    

Actually I did another mix for VSL, though I didn't post it to YouTube.  I probably will later.  

That sounds really good,  it is Barry Gray, right?   His scores for the Gerry Anderson productions are fantastic.  

Thanks Stefan, I appreciate it! 

Thanks, Anand, I wanted to make the organ more prominent...

wow, that sounds great!  The tempo, dynamics and balance seem perfect,  one of best of the Synchron performances  I've heard.   Interesting to compare this with the VI version you also did.  

Is this a default venue within the player except for the MIR SS?  

That sounds flawless, there is no audible difference between live and sampled!  ALso I like that piece and wish there was more of it.  

Philippe and Acclarion, it's great to hear from you guys!  Thanks a lot.  

Anand, that sounds really good, and the solo violin section is very effective against the big string ensemble!

Yet another tweak - with choir and another measure added!  (Yes it's going too far, I know...)

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