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http://www.reverbnation.com/tunepak/1665597ORCHESTRAL or SYNTHETIC INSTRUMENTALS are needed immediately by the President of an established Music Library/Publishing Company who is looking to place tracks in TV dramas/reality shows. He is mostly interested in orchestral music with high quality MIDI work, and good sounding samples. He is open to all tempos, and moods can be in the wide range of happy, sad, contemplative, urgent, scary, nervous, playful, sneaky, intense, etc. In his own words, he says: “Don’t send synth that’s trying to be orchestral and falls short.” He’s requesting that the synth sound like synth, and the orchestral work uses authentic sounding instruments. The two different examples he used was music in the films Speed Racer or Spider Man.Made it through the first gate!! Mazz

KILLER tracks, John! Just excellent!Congrats!~wings~

My God your good at this! Spider Racer is fantastic. Are those East/West brass samples?? They are so big and full. It might be time for me to start paying you for lessons!Congrats. I'd be shocked if you didn't get a call for these.B

Thanks guys.Actually the brass is a combination of EW, Kirk Hunter Diamond, SAM Orchestral Brass and SampleModeling Trumpet. Particularly for horns, I've been using a combo of solo horns from different libraries and ensemble horns and mixing and matching articulations as necessary. The Kirk Hunter bones are very good as a group. SAM gives you different samples for 1,2 and 3 chairs so you don't get that phasing sound like you can if you use the same ensemble patch for different chairs.Overall each library has different strengths and I try to play to the strengths and write around the weaknesses.Thanks for listening!!Mazz

Good tips! I'm pretty new to orchestral simulation and have been having a much better time with strings than brass so will look into all of that.Good luck with the tracks. You know you've got it with the first one.

The issues I hear with most usage of sampled brass is a static sound. No brass player worth their salt (or any other wind or string player for that matter) will just hold a note without doing something with it, vibrato, crescendo, decrescendo, etc. In film music, brass are used so much for dramatic swells and transitions and big hits, it is essential to learn those articulations and what your library can and cannot do in that department.I like the "canned" crescendos in EW and you can mess around with things like putting a stacatto on one MIDI track and a crescendo on another. Depending on the length of crescendo you need, you can start the crescendo before the stacatto track. If it starts to fade in too early, just bring it in with CC11 when you need it. Then you get that sFz sound with the big "Matrix" swell.Some of the DXF patches work well too, it takes some practice to play in the swells with the mod wheel but you can always tweak the curves afterwards. The key is to do multiple tracks with slightly different samples (a mix of solo horns and ensemble horns, for example) and perform each swell individually. I just play one and get it the way I like it, and then watch that curve go by in the piano roll display and try to match it (I won't ever get it exact, which is what I want!) on the other tracks.Lots of tricks!!Mazz

Great tips! Thanks for sharing!!~wings~

Awesome trax!! Here's to a deal!

Jul 22, 2009, 1:48pm, mazz wrote:The issues I hear with most usage of sampled brass is a static sound. No brass player worth their salt (or any other wind or string player for that matter) will just hold a note without doing something with it, vibrato, crescendo, decrescendo, etc. In film music, brass are used so much for dramatic swells and transitions and big hits, it is essential to learn those articulations and what your library can and cannot do in that department.I like the "canned" crescendos in EW and you can mess around with things like putting a stacatto on one MIDI track and a crescendo on another. Depending on the length of crescendo you need, you can start the crescendo before the stacatto track. If it starts to fade in too early, just bring it in with CC11 when you need it. Then you get that sFz sound with the big "Matrix" swell.Some of the DXF patches work well too, it takes some practice to play in the swells with the mod wheel but you can always tweak the curves afterwards. The key is to do multiple tracks with slightly different samples (a mix of solo horns and ensemble horns, for example) and perform each swell individually. I just play one and get it the way I like it, and then watch that curve go by in the piano roll display and try to match it (I won't ever get it exact, which is what I want!) on the other tracks.Lots of tricks!!MazzVery interesting...

Oh Yea.....great stuff Mazz........Both are excellent but I really like Spider Racer Theme...Derek