Nice Thomas. Again, I know you guys may not agree, but because you record your voice over and over, the same timbre is obviously recorded over and over, and it definetely shows. My opinion, don\'t shoot me. I don\'t like the idea of post processing on all the voices. I think VOTA 2 is more than adequate.
Sounds ok Thomas, but I think you should add a few more shadowing tracks to each line, and then you may be able to sit it slightly more forward in the mix. Right now it sounds kind of \'mini-me evil\', when I suppose what you really want is \'Dr Evil-Evil\'. (One Meelion Dollars!!!!)
I know you get diminishing returns after three or four tracks with the same voice, but maybe King is right and there\'s some serious value in playing around with formant shifting plugins - maybe that would let you stack on more takes and get a \'larger\' choir sound.
Even so, it does sound evil and choral, and I\'ll bet it was more fun to record those takes than sit down and copy midi tracks and reassign them while cutting certain notes and tweaking track offsets in VOTA or the Sziedlacek library!
Thanks guys. I know it\'s no VoTA, but the client is happy with the result, and it definitely beats the classical choir in terms of evilness. It works particularily well in the first crescendo. Sounds like a choir at that point. Weaker in the second part, but still useful.
Woodwinds are AO (with the piccolos going wild) the rest is costum.
Nice work. I find the brass the most convincing of the lot (especially the Basstrombone/Trombone FFF stuff); the choir unfortunately doesn\'t really do it for me. It somehow doesn\'t match the grand scale of the rest of your composition.
Looks like Vota might indeed be the icing on the cake for you
Thanks Joris means a lot coming from a pro like you! Btw, I\'d like to ask you a few things about orchestration for my upcoming project since you recently went through the tideous task of orchestrating midi sequences. Can I have your email address?
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Tell me abit about your experiences with balance in the orchestra. Compared to balance in your midi sequence. Did the woodwinds and strings loose a bit of detail in the performance? Also, how did the orchestra deal with sudden really quick runs in a normal ostinato part? 8ths 8ths 8ths 8ths and then 32nds in a run, and back to 8ths 8ths 8ths again. If you see what I mean.