It\'s been a wonderful year of scoring, arranging and composing and I was most happy to meet so many gifted musicians in our GREAT Mo-Songs forum.
As you know, over the past year I\'ve been doing a lot of User Demos for Bardstownaudio.com and I finally completed a little 2 minute Audio Commercial for Kip McGinnis and would like to express my personal thanks to everybody with this 2.00 minute Seasonal Song-Arrangement.
The following instruments in this score include:
BardstownAudio Imperial Grand Piano, Archtop 1948 Gibson (thumb) Guitar, Trilogy Bass and Dr. Jazz Kit Drums.
Also included are the High and Medium Brass ensembles, Legend Trumpet, Sweet flute, Celeste and Sax Ensemble.
I\'ve also included the East-West-Quantum Leap Symphonic Orchestra 70 String ensemble too!
As always your comments are most appreciative.
Thank you so much for your past critiques, responses, contributions and posts and I wish everybody a happy holiday and a great new year to come in 2004.........
I thought it was excellent, your best yet, until 55s and then I didn\'t like the section from there to 1:15. Your arranging is always superb, in the genre, but I think the realism of your orchestration lets it down. To my ears it sounds a little \'home keyboard\' at times. The outburst at the end was.......let\'s say....unexpected. [img]images/icons/smile.gif[/img]
Hehe great stuff. I love this jazz lounge music. Good arrangement, but I agree with Hardy that the backing is rather \"eh\" [img]images/icons/smile.gif[/img] Regardless it was enjoyable. Gimme a cd with all the x-mas music on it and I\'ll buy it! Perhaps some sleighbells to cheese it up and female \"ooh\" backing vocals + full big band and strings [img]images/icons/smile.gif[/img] Okey then again maybe not.. and it\'s been done probably like a billion times already so why bother. [img]images/icons/smile.gif[/img]
Anyway, I really enjoyed this. Thanks for posting [img]images/icons/smile.gif[/img]
what a nice surprise. I think this has a wonderful ambience. Piano nice and clear, drums very crisp...everything in its own space. Good job on the production. As usual, you piano playing makes me drool. I\'ve never heard this tune done upbeat like this..nice arrangement.
Personally, I liked the backing. It\'s sounds like ...well...backing. Not too fancy, but just right. Somewhere around 1:00 there\'s a piano note that is much louder than the rest...kind of sticks out to me.
Good work, as usual. Puts me in the Christmas mood.
....but I think the realism of your orchestration lets it down. To my ears it sounds a little \'home keyboard\' at times.....
The mixing of synth sounds especially when they are 80% coming from a Yamaha Workstation keyboard (having its own internal voices) combined with real samples can really challenge the quality of the score and the final mix down. Experienced ears (musicians) do pick these things up. I am really tring my best with what I have. One day I\'ll have enough samples to make a gourmet salad prior to the main course. >grin<
It would\'ve been to muy advantage to have brass and reed samples that could\'ve been keyed leaving a more realistic and convincing sound.
The main point in doing this was to thank everybody and especially my colleague Kip McGinnis for a wonderful year of music.
as an arranger, that was certainly considered prior to the return of the \"A\" melody but what I had to choose before the Brass Falls (articulated by the keyboard and not a sampled keyed fall) was whether the piano would remain dominant throughout the score. With better Reed and Brass samples (Sam\'s horns, QL Brass etc..) you can layer it so that your recommendation can be acheived without depressing the Piano\'s role in the work.
Since I am dealing with Synth Brass and Synth Reed sounds out of a work station keyboard, the separation of layers doesn\'t offer me this solution. I am very familiar with the voices of the Motif 8 Work staion and we all know in this Professional Forum, that if you are going to score with great samples, use great samples 100%.
At this point in time, this is what I have in way of libraries and down the road I know that future scoring and close to realisitc Performances can be acheived..
As always Sharmy, I value all of your comments and consider you a mentor.
Great piano samples and playing! And I love the arrangement. My only problem is the same problem I have with practically every piece of sampled \"jazz\" music.
In \"midi-jazz,\" the bass, drums, and sometimes the piano seem unaware of each other. A real drummer and bass player can \"feel\" each other as their performance plays out. Jazz drum styles have infinite articulations and sometimes almost inaudible feel elements. A real bass player adds an integral rhythm nuance that only works when the drummer and bass player are working together in real-time. And the pianist is constantly reacting to all the above.
Your piece is exceptionally good. It\'s just that it\'s impossible to play all the parts at once on a keyboard, and editing the parts later never introduces the missing spontaneity.
It\'s funny how 3 or 4 real jazz players can make music that sounds like 1 cohesive thought. But a single keyboard musician usually sounds like 3 or 4 musicians playing 3 or 4 interpretations of a thought. But that\'s why God invented drummers, bass players, pianists, jazz bars, and nice 20-year old Scotch!
Once again, I\'m not picking on your talented playing. I\'m just using this as an opportunity to share the views that I have had when I hear other jazz offerings made from samples. I have been a bass player for 30 years, and I have never been able to sequence a bass part that sounds nearly as good as when I actually play my ax!
I appreciate your lengthy comment here and live jazz with all of the conversing among its players can never be replicated but we can get close with some critical thinking.
The only way IMHO to get close to a convincing live session among Jazz artists is to play it all in realtime. This doesn\'t mean one take or 10 takes. What is needed here is to continuously lay down the tracks and return to the tracks needed to MAXIMIZE the conversing among the chosen sampled voices. It is an intense revaluation of a process that is more subjective than objective. Certainly a few clinkers of doubled notes accidently played by any given voice can be deleted from the stave line using a program such as Sonar 3.0 Producer but acheiving the overall production as a performance where voices seem to be sharing a \"WE\" experience needs to have the Midi Arranger at the keyboard creating newer bass and drum parts in the process. I entertain the idea of creating newer midi tracks because things have a chance to become tighter in the long run. (Hopefully more exciting) Somewhere down the road I intend to write an article about this issue on my Website Below.
Very nicely done, Alan! [img]images/icons/smile.gif[/img]
Tarkio brought up some really excellent points which could be applied to just about any kind of music, especially any that has the innate intimacy as true jazz and the interplay between 3 or 4 musician working as a cohesive unit. It is so difficult to emulate on a sequencer. That said, I think Alan did a superb job with the tools available.
Nice feel, nice touch, and the highest compliment is that I forgot that I was listening to a sample demo and thinking more about the Christmas mood it was putting me in.