Not that VOTA sounds bad, of course. There are some situations where I\'m trying to achieve a certain choral sound and I\'m just not getting it.
I\'m submitting a spec demo to the client to get more work on this project I\'m doing. If they like this, I get to do another 2-minute track for the game (this will be the third track!) This is for a certain level that\'s very \"crystalline\" and \"icy.\" Daytime, outdoors. So I came up with this and used a celesta and VOTA \"Angels\" to add a brilliant/icy feel to it. I think VOTA really shines here--granted, it\'s not in the foreground, but you can hear it well.. and without it, the piece wouldn\'t sound the same.
For me the weakest (splitting hairs) aspect was the transition from the :06 string run to the start of the voices. I\'d probably peak the volume of the run, add some reverb tail, and ease in the first notes of the voice with the faders. Something to smooth the transition.
Then again, that might suck :-)
Do what sounds right to you. You\'ve got the feeling nailed. And you\'re right. VOTA sounds great in that context. Mainly because of what you\'ve done with the strings and the glock. And the transition to the horns is perfect.
Thanks for the good advice. Usually in transitions that are not entirely smooth, I cover the transition with a cymbal roll or something along those lines. In this case it\'s a small gong. I\'ll have a listen tomorrow on some bigger speakers (my car--ha ha) and see how it sounds.
I can picture it. A competition audio car with 10,000 watts pumping through a dozen 15 inch subs cranking out Giga classical music, as the Ludwig bass drum shatters the windows on main street, impressing the street urchins to no end... Hey, street urchins may be the target market!
Regarding the cymbal roll/gong solution, that makes a lot of sence, and is certainly the more honest, musical approach. I can\'t help but go for the technical solution - the engineer in me never sleeps :-). Thanks for the insight.