Strange title, but true. Since my "dark ages" using mixing software, sampled based libs, I struggled my way from article to article, from tutorial (NOT THOSE OF DPDAN!!) to tutorial, from crippled notes on how to do things, etc.... all for just one goal. What is it? Why is it? Why doing this or that? And a lot more.
I explored SoundOnSound articles by the dozens, even read a whole book about MIDI orchestration (on Internet), and they all had it partially wrong. Nobody could give me the "golden key" to salvation from those total state of ignorance. I meandered from completely worthless stuff to things that really made sense, always asking myself: "yes this sounds well enough in words, but next there is that constant factor, how-to".
How to analyze ones own mistakes, what is really wrong and more important where and most important how to solve it with what. And here all articles kept silent. The only thing left to do was listening, listening and again listening, in an ascending degree of analyzing what do I hear (hard to do when you suddenly start to listen to the beauty of the composition, instead of the orchestration/recording techniques.)
To end this lamentation, I ignored my ears and leant more and more to those writers, with their technical bla-bla, demonstrating their own "look who is talking". Now I am back to ground zero, having regained my good senses and hearing. To hell with all those article writers, those Mp3 lovers, who's hearing capacity has been degraded to just a bunch of "booms" and who are all suffering from tinnitus (and not hearing it because they are just deaf).
... still remains why aliassing occurs, why phasing is important (fifth's!), why there are constant ticks and hicks (not often, but present), why, why and why? Here I'll stop wondering myself, I'll stop solving it. From now, this day, saturday the 25th of july 2009, - make a note in your notebook - , I only judge my ears. Of course, apart from the technical aspects of orchestration and using the instruments what they are intended to do.
Being busy, since a couple of weeks, with my (up to now) one and only Symphony as a testcase (because of the complexity of the orchestration), I experimented with a lot of orchestral seatings, reverbs settings, equalizing in Sonar, and you don't want to know, a lot more things.
Finally I've got it right where I wanted it to be. A most enjoyable, romantic, intriguing, epic piece of work at least me and my family remembers. It is finished. I can't think of anything more to make it better.
During this process I've found some errors, compared to the original score, found some errors in orchestration, some really ugly sounding sentences, some inadequate sound balances and a lot more. So, - and that's why I opted for two separate monitor screens - I had a lot of work to do, both in SONAR as well as in Overture at the same time.
Now the "trumpets bray", the "horns blow", the "trombones are menacing", strings are "comforting", and the woods play their "romantic" part. For those who are interested to listen to the "one and only rendering" [I won't do this again], here is the link.
Symphony nr.1 - d minor - Opus 17 - The Fall of Babylon
[not yet transferred to my website!!]
If you want to know how I did it, let's wait for the Mixing Thread, Gunther [Germancomponist] wants. Now time for something else, e.g. a beer, a hug, some dinner, whatever as long as it is not musical, back to my ears,