Joseph did one of the very first GPO demos when it was released. Composer Bill Brown first told me about Joseph Carillo's music and suggested I post the previous version of his demo on the GPO demo page. When Joseph first received GPO he wanted "to write something which allowed me to test out a lot of the instruments at once to see how they work individually and together; and also allowed me to see how GPO handled a variety of emotional textures." Joseph originally composed the score in Finale, and then brought it into Digital Performer (v.4.11 for those who are interested) for mixing.
Joseph's new rendition is nothing short of amazing. His compositional and orchestration skills are extraordinary.
I cannot wait to hear what he does with the upcoming updates.
Thanks Joseph for sharing this with us and looking forward to hearing more wonderful work from you.
I used almost every string ensemble instrument available to make legitimate divisi's. So the first violins consisted of the Violins 1 Lush (also trem, pizz and trills) and 5 ens violins (and two of the solo pizz's); the second violins consisted of Violins 2 Lush (et al.), and the remaining 4 ens violins (and the remaining solo pizz). I would have used the solo patches too, but at 2:53, all the violins are playing in unison.
Maybe I should post some individual section mp3's to better show how I did this...Anyway, I did the same for violas, celli, and basses (although the basses didn't divisi, I decided to layer all the ens instruments too, because, well why not?).
Thanks, NDEE. I love the part at 2:05, too. All the soaring strings playing that line...it's moments like that where the sound of GPO really shines. Thanks for listening.
I Joseph...very impressive...I see a bright future for you.
I can hear many contaminations....Orff...Nymann...Rota..
And also so much inventive....
Surely one of my favourites...(after mines..)))))
Very good...please give us more
PS the snare is not from GPO isn't it?
Thanks for listening, guys! Trond, the choir is comprised of me overdubbing myself. I haven't tried the clone-ensemble yet, but I'm intrigued. Usually when I record choir parts, I try to sing each part a little differently to achieve different vocal timbres. It probably also helps that I'm not that good a vocalist; I get a whole lot of naturally occurring Var 1 and Var 2! For some of the higher parts, I'll do a combination of yowling in falsetto and singing the parts an octave lower and using pitch shifting software, nothing fancy, just whatever comes with DP. It's some serious ensemble building going on. Whenever I do it, it just makes me respect people who have the ability to sing even more.
Thanks J.B., I'm looking forward to the updates to see what other trouble I can get myself into...
You are right, Francesco, especially about Orff. This was actually a rejected film score, and the director wanted EXACTLY what was in his temp, which was the incomparable Carmina Burana. Only he wanted something more dramatic...yeah right. The other music he used was an obscure piece of film score, but he wanted a cheap knock-off, and my music was "too original" for him. Everyone, including his friends, thought he was crazy for rejecting my score, but whatever... His loss.
DPDAN, I full agree the timpani rolls are waaaay to timed, but it was a quick turn around on this project, and when it was basically kicked back, I lost my gumption to go back and fix those little things.
Everything is GPO except the choir, and the guitar, bass and drums (Roland synth) at the end. There's a tom-tom element in there somewhere, too, also from the Roland library.
JMC, I know exactly what you mean. Once I feel like I am "done" with a project, I too have to make myself go back to fix a few things I heard that I didn't like. Hopefully you were not offended by my comment. I did not mean that the timpani rolls were too long, or too many of them, just that the long timpani rolls were without dynamics. I think you know what I mean, anyway it's still a great work.