Since it had been a long time ago, I thought it would be nice to review my Piano Concerto, but now with ARIA, SAM Brass and a lot more experience. It took quite a lot of amending, firstly the piano score ([first part], secondly some orchestral harmonics, etc. and at last the balance of instruments and the sound of them.
After 4 weeks hard labour - interrupted by a short and hot holiday in Spain - here it is. For those who are new to this forum, I wrote this for my (at that time not yet born) grandson and finished it just in time at his birth, july, 5, 2007.
I did my best, had the Gershwin demo as an example, but who can beat DPDAN? I certainly can't. While amending I played it several times through my - not so good - Behringer Truth B2030A monitors, each time comparing it to the 5th piano concerto of Prokofiev and the Gershwin demo, until I thought I was quite near the sound of the professionals. I sincerely hope that you are satisfied with the results. Let me know.
My 2 favorite Piano concertos are #3 and #1 by Prokofiev, but I like #5 as well. I can hear the influence of Prokofiev in this work so of course I enjoyed it.
I am curious why you have the piano panned so far to the left. Most concertos would have the piano a lot closer to the center. But of course if you were sitting in the right section of the audience, that is where the piano would appear to be.
After 3 years of listening to music posted here and on sites like these, I have come to the conclusion that those who are able to come up with the best recordings almost always have access to some of the best reverbs around. The ability to place an instrument anywhere you want on a stage just by moving around a virtual player can allow the user to come up with some very realistic sounds that those of us without said reverbs can only dream of achieving.
I am still (as I am sure you are), very satisfied with the results.
"Reality is merely an illusion, albeit a very persistent one." Albert Einstein
Ron, you were right about the piano. One gets deaf at the end... you know, when having listened numerous times to the same piece. I used the Stage side and that perspective has the channels swapped. So I re-swapped them again in Sonar. Now it is better.
At the same time I amended some of the dry/wet settings of the reverbs. Included different equalization for the strings and suddenly it sounds a lot more transparent.
Yesterday I received the great book:
Acoustic and Midi Orchestration for the Contemporary Composer by Andrea Pejrolo and Richard DeRosa. I had a quick look and found some useful info about reverbs too. This week and more I will make a study of it. I am curious if I can apply some of the advices with my music.
Out for the weekend, -having uploaded (same link) the new version-, enjoying the last summer days in Holland........
A dark and brooding Romantic masterpiece of sizable dimensions. Again, true to your European environment, evokes Brahms, etc., also some dissonance to the extent that it straddles at least a couple centuries, stylistically. But utterly original in terms of the content. Very robust and energetic, yet the same pathos I have heard before in your music. Most dazzled by the last movement, all the triplets to start.... Built for the piano virtuoso, the work puts the pianist in firm control of the proceedings! Chock-a-block full rich content and especially liked the woodwinds! A few times, I thought the tempo could be moderated somewhat with no loss of impact, again due to many fine touches and flourishes. A strong and well realized composition and render!
Thank you again, I very much enjoy it the second time through as well!
Take care. sd cisco