There are occasionally such lucid reviews here, so I dare to put forth a part of a work: Romance for Orchestra, the first 4 minutes (an exposition, really, Appassionata then Allegro Assai). I am trying, first, for a contrast between the opening violin solo and the con sordini strings that come next; then bringing in the other instruments but still keeping the music clear -- but it's difficult! Where the recording fades is a Mozart-style development (a new tune secretly leading to more of the same material).
It is on the free soundclick site as mp3 download (I think you must register as a listener in order to download, but can listen to streaming version without registration?)
Here is the page link, the Romance is second down now. Thank you!
This is a very difficult work. I liked your Romance for Orchestra. The contrast with the solo violin and other ionstruments is very compelling.
You may want to try a reduced volume and more ambience. I noticed a little clipping - but it could be my headphones were set a little loud too. Other than that, you did a very fine composition and arrangement. The music certainly was kept clear.
Thank you for sharing your music with us. Looking forward to hearing more of your work.
Nice work. The solo sections are rather complicated. I also like the way that you periodically incorpate the horn choir. The unexpected tempo changes are a nice addition as well.
I read on another post of yours that you are having trouble with the strings sounding to "synth-y". I'm wondering, how are you inputing the parts? Are you writing using a sequencer or did you use a notation program?
Here's what I've discovered. I've composed using both methods. I find that whenever I use a notation program, the outcome is a bit more fake sounding. I know that GPO was designed to be used with Finale, Overture and the likes, but I believe that it really shines if you use it through a sequencer.
When using a sequencer, I perform every part and very rarely quantize (unless I'm working with percussion parts). I also make great use of the controls that Tom and Gary have incorporated into this great library. I don't know how much you use them, but I would suggest definately getting very familiar with the controls (ie legato and staccatto, volume, etc.)
I think that your Romance could be a very, very nice work. It is well on its way to it already with the shear complexity and composition of the tune. I don't want you to think that I didn't like. I'm just offering a bit of advice to try to help you fine tune it. Please feel free to contact me if I can be of any help.
Also, you can go to my website and hear some of the things that I have done with GPO and other sample libraries if you would like (www.jonnylostinc.com). Or, my two film scores done exclusvly with GPO are on the GPO Demo page under Jonathon Cox.
Johnny, thank you for the thoughtful response. I compose in three steps: by hand first, at the piano often or in an armchair; then in a score for printed music; and then, last, re-entering the music in a sequencer 'step recording' mode. So I agree about the problems in score-to-midi -- one piece for which I tried this, on my soundclick page, is the Piano Trio No. 1, Second Movement -- and there, I spent far more time 'humanizing' it than it would have taken me to enter it. But one thing I never do is try to record live -- I just don't have the patience to wade through an orchestral score instrument at a time and 'play' the parts. Step sequencing is far faster, because you go as fast as you can without waiting for the metronome, and without having to go back and correct your mistakes. Others, most others, seem to disagree, of course.
I spend a lot of time with the midi, after entry, trying to improve the performance of all parts. With your additional feedback, maybe it's worth yet another visit to that performance. I did just re-mix it to correct the levels slightly, and posted it again very recently.