I finally got a chance to post this after NAMM. You may need to click the \"CLICK HERE\" before you can get a proper action from the \"Play\" button in this Flash presentation. I\'ve mentioned it to the guys that handle that part of it.
Houston...this library continues to impress...regardless of the money. I wish I had your production abilies as the sound is extraordinary. It seems as if impulses are the way to go with Ozone! (especially if you know what you\'re doing!)
BTW the player cuts off near the end and it cut off earlier the second time.
On the programming side I would like to have heard more rubato and also more cc11 to gently easy in the first notes of phrases and also cc11 to vary the volume more as appropriate....more dynamics.
Still, very beautiful and I repeat; the sound and production is just amazing.
Thanks for the comments. On Ozone I used the Paragraphic EQ, the Multiband Compressor and Loudness Maximizer only. The Ernest Cholakis impulse came from the collection included with GOS and was processed using Acoustic Stamp in Nuendo 2. Ozone does have a really nice modeled room reverb in their plug, but it\'s not quite large enough for my tastes in this particular arrangement.
As far as rubato and dynamics is concerned, I guess you could continue to tweak and tweak until you pull your hair out - but I decided to go ahead and put it up so that I can feel some closure and move on to my original work. I\'ve been a bit scattered since the NAMM show, and this was used to center me a bit.
The mp3 is embedded in a flash project, and it over 12MB in size. I\'d imagine that there\'s something in the project builder that behaves oddly with a file that size - including sometime taking a long time to start up (buffering, maybe?). So I\'ll continue to poke at it and will report it to the developers.
Isabella - which score? I used one that, if I had followed it to the letter, would have been one full minute shorter and not nearly so much rubato. I referenced against a performance recorded by Leonard Bernstein (Sony Classics). It\'s as close as I care to make it right now. [img]images/icons/wink.gif[/img] Everyone seems to have their interpretation, and almost all of them go longer than the score indicates. As far as the dynamics are concerned, you\'ll have to consult Maestro Bernstein\'s ghost on that - as I did a decent job following his lead.
Sharmy - the project file is built into the web page, and only requires that you have the Flash player plug-in installed for your web browser in order to see and hear the project. If it\'s slow in loading for you, it might be that the buffering is taking more time for your machine. Since it\'s a 12MB+ sized file, it may take some time. If not, then maybe it\'s something on the server side not playing nice with Mac-based browsers.
Alan - once you get a \"feel\" for what you want with Ozone, it\'s really easy to dial stuff in. I have a fairly decent trust of what I\'m hearing, as I\'m also playing a reference file (I could get really picky and do a spectral analysis in Ozone and get a matching EQ, but it\'s overkill for a fun throw-together like this). From raw audio mixdown to processing with the impulse and then through Ozone and off dither and mp3 took less than an hour. It probably would have been less if I wasn\'t adjusting things in one part of a 9 minute perforumance that would impact another. To make a change across the board means that I get to audition the change through the entire file. I cut a few corners at the risk of some warts showing through, but then again I\'m not recording to distribute on Sony Classics. [img]images/icons/grin.gif[/img]
The mockup and balancing the solo instruments against the section samples was about 2 or 3 hours - but that also included growing accustomed to the new shortcuts in Nuendo 2 (using the Logical editor to shift controller values and some note starts to avoid the \"church organ\" effect). It was more time than I expected, but the results were more than I had hoped for. Thanks to everyone for their comments and thanks to Gary for making such an incredible, musically gratifying compositional tool.
Great effort, I\'m sure this was pretty daunting. I agree with Isabella though in that it could use a lot more dynamics and emotional phrasing. The attacks for the most part are good, but alot of them are a bit harsh/sharp. What gives away a lot of string arrangements is how sharp the releases are ~ before releasing the keys, do a decrescendo to simulate a more musical/natural end to a phrase. Treat attacks the same way - start a bit softer and crescendo instead of just only pushing a key.
Glad to hear someone finally mocking this entire piece up though. Well done~