Thanks for the listen Mazz! I'll go back and find something to fill in the gap. I'll throw some more "orchestral" things in there to try and spruce it up a little.mazz wrote:Sounds better, a lot better. The arrangement brings in the orchestra sooner, although for an electro orchestral piece I still think the intro should be shorter, but that's probably a matter of taste. My only concern is the 8 bar intro doesn't bring enough interest after the first 4 bars and you might lose the client.
Yes, I'm using the staccato articulations on the trumpet & trombone, & marcato on the french horn. I may have missed it, but I don't think there's a staccato articulation for the frenchies. I'll have to double-check that, but if there were, I'm almost sure I would've chosen it for what I'm doing here (unless of course, it just didn't really sound right to my ears).The repeated high brass notes sound a bit synthy to my ears. Are you using a short articulation from EW? If not, you might want to try that.
Yeah, I've got First Call. And I understand what you mean about the repeated note thing and whole step down on the 3rd note. Slop things up a little? I'll see what I can do. Thanks for the suggestions!Also, repeated notes with samples are often problematic because it starts to sound too much like the same sample. In my experience, even with the RR articulations, it's hard to get repeated notes to work really well. You might consider changing the middle note of the 3 to go down a whole step. I've often employed this strategy when the repeated notes weren't working. Also you might consider doing a slight velocity crescendo for each set of three notes, which might alter things enough to take the synthy vibe off of it. I can't remember if you picked up First Call Horns, but you might consider adding a lead trumpet from a pop brass library, it might add a bit more punch to things. With a lot of film scores, particularly those recorded in LA, you have incredible players that are able to go from a classical "legit" playing style all the way to screaming lead playing, which is something you don't find everywhere. So our ears are attuned to that kind of flexibility in these kinds of pieces (Bourne Ultimatum, John Powell's stuff, etc.). The thing with these orchestral libraries, is that they are sampled with more "legit" playing and don't often translate to the kind of rhythmically aggressive and syncopated stuff you're doing here. A nice pop lead player might just make this thing "pop".
ibanez468
