A nice job putting it together. The Trumpet tonguing was great.
As with my own, I find the low brass a little weak frequently.
It's good to get an independent view from someone with a particular interest (and experience) in wind and brass.
I actually think the trumpets are the weakest part in this ...
The lower brass parts came together easily once I got to understand how to use the midi controllers to in the same way that I would use my tongue and breath if playing for real, though I may have used a little too soft tonguing for these compared to the trumpets.
The trumpet parts took a lot more effort to get anything like a sound that I was happy with, and I had to use more reverb than I'd have liked to do so, making them sit very far back in the mix.
I had to try to balance the lower brass to fit with them, and in that sense, at least I can see that they dominate the piece and perhaps come across more successfully.
... though maybe sometimes you're just too caught up in the thick of it to give yourself an impartial view.
Thanks for listening and the useful feedback!
Couple of things I might fiddle with:
*Harder attacks (higher velocity on tongued notes--we always play the tongued sections kinda dry & crisp)
*Shorter notes in general--we never hold a lot of those notes out full length when playing live, especially in a reverberant room.
*Cut down the note tails via CC#21 if you haven't done so already.
*We also really exaggerate the dynamics and add a lot of unwritten < and >. That will add some tension & release.
I may add more when I go home & look at the score & remind myself what else we do with this. I also have better speakers at home.
If you also have COMB, you might use cornets instead of trumpets. The conical cornets will warm the sound up a bit. IIRC, Ewald wrote for a conical group in this piece. Also might be interesting to have part 5 played on a euphonium, as it's a bit high & pungent on a BBb or CC tuba. You can make an entirely conical brass ensemble if you have COMB.
Again, nice work...homogeneous ensembles, especially brass, are very difficult to perform electronically.
I've had better luck with woodwinds.
Professor of Capitalism
Indianapolis Brass Choir
All Your Bass Sus&Short Are Belong to Us.
You have the advantage over me there!
I did vaguely know the piece from the excellent PJBE recordings, but never got chance to play it myself ... on the rare occassions where we got a small ensemble together we usually played Susato or Jim Parker's superb "Londoner In New York" suite.
But being able to record the piece really was like learning to play each individual part myself and focussing on the techniques you'd use for real ... it really surprised me when I finally understood how the midi can be used artistically to do that, rather than seeing it as just "programming".
I've probably indulged myself a bit and given it more of a modern "Londoner" style sound than Ewald originally intended here.
I do have COMB as well as GPO, but I'm currently just trying to work through various emsembles in GPO get some practice using them, but brass is my real love (and only area of semi-musical competence) so I do intend to get more into COMB soon and it would indeed be good to do a more authentic realisation on the lines you describe.