I browsed through the demos at www.projectsam.com and something really stroke me. Thomas made a wonderfull demo called \"Flight to rivendale\". During the demo there are ALOT of instruments I cant recall especially the strings. I cant recall these samples anywhere - and whats the percussion work in the begining - where does that flute come from?
Lewis, thank you. The sample-set is my standard template of sounds, scattered over 3 fully loaded gigacomputers.
The percussion is quite simply a handful of multisampled percussion from Spectrasonic\'s Heart of Africa (A wonderful and versatile library).
The strings are from various libraries, mostly roland strings combined with ultimate strings, from which I created a totally new set of string sounds using x-fading for sustains, and 8 velocity layering for marcatos (by going down and editing the patches using the raw material on the roland disc) - Sometimes I will layer Kirk Hunter strings. Usually for FFF parts (As they tend to stick out with their harsh edge)
The flute is simply an edited (x-fading, eq and proper tuning) peter siedlaczek\'s advanced orchestra flute patch.
Besides from that I got a few other questions for you Thomas. I remember you had alot of other demos on your site - now all its saying is \"Go away\". Where are the old demos? Where are the new ones?
In addition - does you piece use 3x160 voices? Thats a LOAD. I thought you did most of your stuff on one computer - but I guess I went naive or what? Hehehe.
And regarding you composing technique. Do you \"write\" you stuff first and then record it? It sounds like you compose while you create it - I mean your movements sound like they were made this way - or do you have it all planned?
Lewis, I deleted the site and the old music as it was far from satisfied with them. Over the last year I\'ve been working pretty much nonstop on my demo cd, which I\'m very content with so far. I might put up some clips on the webpage when I\'m done with it, but mostly I will use it as a promotional cd.
The way I write is very different from piece to piece and depends on a lot of factors. I\'ve got classical music training at a conservatory so a lot of my work involves sitting down at a piano and writing out stuff the traditional way, for smaller ensembles to perform. If the piece is a cue for a movie scene then my work is slightly different. But generally I write out piano sketches or string pad sketches first and then start to orchestrate it from scratch on a blank template. With music for film (mind you, i\'ve only done student movies and low budget stuff so far) I work pretty similar to JNH, writing blocks of 4-8 (sometimes less, sometimes more) measures at a time, until everything is right. It\'s only useful if you got everything planned up front, or else you will find yourself severely limited as far as compositional freedom is concerned.
I can\'t remember how many midi channels I used in that SAM horns demo, but it was around 80-100, and you are correct in your deduction. I did indeed write as I went along. Maarten requested a demo, and the samples were inspiring enough to let me compose \"on the fly\" so to speak. At around 5 hours it was a rushjob, but it stands as a good example of the playability of SAM horns, as most of the horn parts are one or two takes (not including the glisses and interval programming/Sequencing).
I have the Ultimate Strings collection and also wish to get more out of them, I absolutely have no idea where to start. Do you have any art files you are willing to share to make this library more useable.