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Topic: Save Tara - Main Theme (Orchestra and Choir 2014)

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  1. #1

    Save Tara - Main Theme (Orchestra and Choir 2014)



    https://soundcloud.com/savetara/main-theme-orchestra-and-choir

    If the video doesn't work you can listen to the composition here, it will play automatically:
    http://www.save-tara.com/

    Well, this is kind of a Christmas gift for myself, memories... I am making another fully orchestrated arrangement to Save Tara, which will be arrangement #39. I probably won't get it done until the new year. My goal is very similar to what I did for Save Tara - Symphony for an Angel, but with a much better handling of dynamics and orchestration. This is the main theme to Save Tara. It is short and simple, but it reflects deeply on the memories of her.

    *I wanted to originally post this in my other post "Save Tara," but I am not sure if we are allowed to bring up older posts. I know some forums call this Necro posting.

    More about Tara:
    http://www.northernsounds.com/forum/...ight=save+tara


    Libraries Used:
    - Garritan Instant Orchestra (Timpani, Slow Orchestra 3)
    - Vienna Appassionata Strings (Violins, Violas, Full Ensemble)
    - Vienna Soprano Choir (Ahh)
    - Vienna Epic Horns (Legato)
    - Olympus Choir Elements (Mmm and Ohhh)
    - Big Bang (Dramatic Ensemble 2)

    Merry Christmas All!

    Regards,

    Richard

  2. #2

    Re: Save Tara - Main Theme (Orchestra and Choir 2014)

    That sounds very promising, Richard. Your never ending personal story sounds better and better, displaying all the involved emotion more clearly. And music IS emotion, every bit of it. Can't wait to hear the rest of it!

    Max

  3. #3

    Re: Save Tara - Main Theme (Orchestra and Choir 2014)

    Thanks for the kind words Max. I'm working on this arrangement very carefully and patiently. I am hoping to have it all complete by mid January. Thanks again, and I hope you had a great Christmas.

    Regards,

    Richard

  4. #4

    Re: Save Tara - Main Theme (Orchestra and Choir 2014)

    A poignant and hauntingly beautiful theme.

    I look forward to hearing it all when it's finished.
    yjoh

    Music... A Joy For Life.

  5. #5

    Re: Save Tara - Main Theme (Orchestra and Choir 2014)

    Thanks for the feedback and listening yjoh. I have chunk completed now, still got some more work to do, Save Tara 2014 is coming along nicely.

    One question though. Does anyone thing there may be too much bass? My ears are playing tricks on me. I like the way it sounds, but suspect that there may be a little too much bass.

    Regards,

    Richard

  6. #6

    Re: Save Tara - Main Theme (Orchestra and Choir 2014)

    Hi Richard,

    Personally, I don't think there is too much bass, but you have chosen a broad epic orchestral setting (with a rather extensive reverb level). That requires a strong fundament. Hence, the basses play a more prominent role. You could discuss that, but when you reduce them, it will sound thin and a lot less epic.

    If you want to create a more direct or intimate ambience, you would have to reduce the reverb and bass level (and other dynamic parameters as well). It depends on how you would create the feel of the piece. You can achieve that by using a different (less dramatic) orchestration (smaller groups, solos, less or more brilliance...) The possibilities are endless and it is entirely up to your taste.

    Hope this will help you,


    Max

  7. #7

    Re: Save Tara - Main Theme (Orchestra and Choir 2014)

    Excellent!!!!!

    Sometimes one word says it all. I can tell all the time you put into this one with dynamics and orchestration. As I said, both are excellent. To me the balance between instruments is perfect. I don't think the bass is too loud at all. Lends great support for the horns, which by the way have beautiful phrasing.

    You've come a long ways in just a short period of time Richard. Another thing that helps, (and I'm trying to head that direction too) is having your dominate patches (instruments, voices, etc) produced by the same company, in this case VSL. It is really difficult at times to mix libraries because of where they were recorded (hall), how they were recorded )dry samples vs. wet), what types of mics used and placement of these mics , engineering (mixing, mastering) of samples etc. So most of this is taken care by using the same company for samples.

    Any way, just enjoying your nice even, balanced pallet of sounds here. Can't offer any advise this time around because it would only be personal taste stuff.

    Can't wait to see what you do next Richard!!!

    Cass

  8. #8

    Re: Save Tara - Main Theme (Orchestra and Choir 2014)

    @Max:
    Thanks a lot for listening to this a gain and providing the feedback. This has been bugging me for the last while. What got me wrapped around this was the volume level. When I play this next to other compositions the volume is a little bit lower but the bass is more present. So, I reduce the bass and I get the volume higher, but it did seem less full. So, after listening and listening I just couldn't tell if it was my ears or if I really did need to reduce the bass. I know I could always push the volume with limiters, but I never do that with any of my music because I want to keep it natural. Thanks again Max for this much needed feedback. The bass is here to stay.

    @Cass:
    Thanks for listening to this arrangement of Save Tara - Main Theme, and thanks for the kind feedback! I also want to thank you for your input on the bass, both Max and your feedback on this has really cleared my mind about the bass. I agree with the mixing of libraries, it can be tough. So far based on what I have mixed with Vienna, Garritan, and the Sonivox strings (from Dimension Pro) work the absolute best together out of all the libraries I own, all are dry. Thanks again for your feedback Cass.

    Regards,

    Richard

  9. #9

    Re: Save Tara - Main Theme (Orchestra and Choir 2014)

    Hi Richard,

    So far, I have done a few orchestrations with up to 4 different libraries (Garritan, Kontakt, LSO, VSL SE and/or VSL full). I always try to keep them as dry as possible in Notion (the only reverb I use is the built in Notion reverb to have some idea of space). But from the moment the music is finished (I mean the entry of notes), I leave the reverb and export to midi or (for smaller ensembles to wave). From there, I import into Logic Pro X to do the editing (exact note lengths, dynamic curves, channel equalising, tempo changes, accents, bowing, expression, spacing, and finally the reverb (which is always IR (impulse response), generated by MIR and MIRacle). Sometimes I use a multiband compressor (that gives the possibility to compress gradually, according to certain frequencies and if necessary an overall equalising according to the selected room (in MIR you can select certain well known acoustic spaces or types of concert halls or recording studios).
    So basically I enter the notes, complete the composition and export totally dry, even without panning, volume set to a fix level.
    Then I edit everything and allocate the ambience and space.

    I assume you proceed fairly much the same way, probably with different tools. And yes, Cass is right: Using different libraries causes extra problems as to equality (and quality) of the sounds. It demands a good ear to restore all the channels to more or less the same starting position (distance, ambience, volume...)

    It's good to share these experiences. That's probably the fastest way to learn quickly.

    I hope this information is useful,

    Max

  10. #10

    Re: Save Tara - Main Theme (Orchestra and Choir 2014)

    Thanks again for more tips. Everything I do is directly in Sonar from beginning to end. The plugins I use are the Sonitus Multiband (only for preventing clipping not for pushing sound), perfect space (convolution reverb), and sometimes the Sonitus reverb (digital reverb). All of these come with Sonar.

    I have three buses (Dry, Wet, and Final) I mix the instruments into the dry (-2dbDB) and wet (-8.5db) and place all of them into the final and mess with the wet and dry buses as necessary. The wet contains a 0db setting of the Perfect Space convolution reverb with a large orchestra hall IR, and dry signal is off completely. I place that sonitus multband plugin on all of the non-midi tracks and on all of the buses.

    I draw all the dynamics in the piano roll view for each instrument after I have done drawing the notes in PRV. I also set all of the midi volumes to low (between 50-85) generally to also help avoid clipping, I then just boost the final bus up about 10 or more DB to make up for the lost volume. Once everything is done I bounce everything to one audio wave (full mix) and then I use the normalize feature to maximize the volume.

    I was looking at that Vienna MIR, and it looks pretty, but I finally broke the piggy bank this year getting All of the SE Strings, the Appassionata bundle took half the piggy bank by itself lol!!! No regrets though, after hearing the sample content included in the Chamber strings I knew I was in love with the Appassionata Strings. But working six days a week now I'll be able to restore that piggy bank soon! I am looking into getting that MIR. I think you used it in your Chamber piece and it was just amazing.

    Thanks again for the great tips and feedback,

    Cheers,

    Richard

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