Hey guys. After getting more than a few comments on the quality of my samples in my first post \"Judas\", I immediately got on the phone and ordered AO. (Don\'t get me wrong I had a lot more problems than just sample quality, ;-), but that one I COULD fix!! ) I would love to have gone piecemeal or plunk down for the all in one solution (of the moment!) VSL, but alas, no funds for that kind of expense. I can\'t say I\'m thrilled with AO. A lot of functions and some samples don\'t convert very well in EXS. (If you could keep an eye out for a post soon about those problems. I know not too many EXS users here \'tho!) Never-the-less, Mr. Sharmy made me feel good about my choice and suggested a few of his favorite patches to start flexing my new library. So here it is...
The samples do sound better than what you had before, but it\'d behoove you to treat each track that you compose with very meticulously to make them as realistic as you can. Just because you are given a great paint set, doesn\'t mean your work is going to automatically look like Michaelangelo. (sp?) [img]graemlins/tounge_images/icons/smile.gif[/img]
I like the abstract quality of the piece, but it feels that there is little direction in where the composition was going. The performance from just about all the instruments could be much tighter, otherwise it would sound like a really heavy rubato from a conductor on crack.
It sounds like you\'re experimenting a lot, but that\'s what composing is all about. Keep it up.
Wow, Aaron, I have to say I really have a different reaction to the piece. It has a really nice arc and a whole lot of connective material that he\'s developed interestingly with some challenging samples. It has good structure, and it goes somewhere. I didn\'t find it particularly abstract if that word means unstructured. I don\'t use that word often to describe any music...of course it\'s abstract. All music is an abstraction of an idea, that\'s what we do. I would definitely call it a tone poem, but it had discernable themes and melodic variants, as well as a sense of harmonic underpinning.
The only comment I have about it is that there are a few moments of what I\'d call keyboard indulgence, that take some of the instruments outside their idiomatic reality zone. There was a short high tessitura string moment which was about 1/3 or so in, and a quickie trumpet section which really show their booty-cracks. However, I think those could be re-thought.
The secret to working with AO is that you must treat it like an instrument itself--with different rules than the instrument it\'s emulating. To an extent that is always true, even fast-forward to the very latest greatest. That line in the sand continues to shift towards flexibility, but forgetting you\'re working with samples and samplers, even for an instant, can let the devil creep in and work his magic.
I posted some AO suggestions on another thread. Christian, I thought your mix was quite nice as well, some nice soundstage manipulation and overall balance. Keep on trucking!!
Well, a nice mix indeed. Definitely an improvement from your last, and the one before that too [img]images/icons/smile.gif[/img]
I like your use of the AO phrases (harps, trills, crescendos, etc.). Its a nice disney feel. As for structure, I thik its a nice fantasy piece with a fair amount of direction, but without definite structual points. Kind of abstract, yeah, but coherent in intention except for a few little moments: the trumpets stick out a bit as Bruce said, and there are moments of dissonance which dont serve a particluar purpose. I love dissonance, but I reckon it needs to serve a particular structural moment.
Some voice-leading I can qwibble with: there are a few moments where the harmony jumps from warm sounding triads to unison over various octaves, so the unison sounds bare.
I have made an effort to find things I didn\'t like (as I hope you will with me), just to help out. Overall, a nice and fanciful listening experience.