Darwin, What a fabulous, fabulous composition, what a fabulous mockup.....Goose pimples all the way; especially between 00:00 and 01:50! A lot of real orchestras would be proud of that....let\'s be honest!!! What else could you do for two minutes that would give you so much pleasure??
This really is hard to fault.....tweaked to perfection
There\'s no better use for a church organ........
Thanks for the listen.......always was a great 2001 Space Odyssey fan........seen it several times (No and I didn\'t use LSD; ...sadly?? )......Now how about The Blue Danube just to compete the experience?
I don\'t want to put Gary on the spot but I can guess where this will soon be linked!
Hi everyone, thank you for your feedback. Again, I learned a lot by doing this mock up.
I only have the Ambience reverb, so sorry if it doesn’t cut it. The reverb delay was given a lot of thought. Most of the recordings I’d ever heard of this work evoked the sense of a very large space (cavernous actually), so I went with about a four-second delay, fully expecting some would find this too long (or maybe even too short!). This piece can only be performed in the presence of a rather largish pipe organ, and these spaces usually have a pretty good delay.
This is 100% GPO using Overture 3.6.0 and zero post production. Strauss scored this with “winds in threes”, plus an augmented brass section, adding two more horns, an extra trumpet, and an extra tuba. In all, this excerpt has 14 winds with 15 brass. I fudged some of the brass by using overlays as separate instruments, mostly because those instruments are playing quite loudly anyway.
8 Kontakt instances were used as follows:
Piccolo NV Solo
Oboe 1 Modern Ens1
Oboe 1 Modern Ens2
Oboe 1 Modern Ens3
Eb Clarinet Solo
There was only one technical problem that I recall: I couldn’t get the bass drum fundamental set to where I wanted it (lower). Every time Overture triggered the bass drum for the first time, the fundamental reset itself to its default. I’m not sure if this is an Overture or GPO problem.
Dan, I know what you mean about the cymbals, as I felt the same way. But Strauss scored the first three cymbal notes p and the next one mf. Only the final cymbal crash is ff. I think in actual performance, a lot of percussionists must get carried away.
I\"ll bet you\'re right Darwin, I am only referring to what I have heard in previous recordings.... The length of the reverberation is the decay, while the delay is the amount of time that passes before the reverb is heard, just fyi
Breathtaking! One of the most recognizable pieces of music ever used in a movie.
And one of the best mockups of a classical work using GPO. Strauss would be proud.
I didn\'t mind the reverb and I think that matching the orchestra with a pipe organ is the right approach. If you listen to classical recordings there usually is an overwhelming sense of space. Perhaps an impulse (sampled reverb) would help. If you have a convolver (like SIR which is free) I could send you a custom impulse to try.
You did this in Overture? Amazing. Would you consider sharing the Overture file?
And of course, I would be honored it I could post this on the GPO demo page.
Thanks for posting this.
\"I may not be a first-rate composer, but I\'m a first-class second-rate composer\"