mickomoo

This reminds me of Daniel Levitn's This is your brain on music: http://en.wikipedia.org/wiki/This_Is_Your_Brain_On_Music

You and me both brother lol. edit: really loved it! I've honestly been trying to write thematic loops like this for awhile and I have difficulty managing it, but this feels like it's straight from a game.

Just going to favorite this so I can listen tomorrow!

Get better soon and can't wait until it's completed, I like what I've heard so far.

I'm not qualified, but if you go to their facebook page and are intrested there's a posting! I'll try to post a link to it later if I can but I'm on a tablet and it won't let me copy

I loved this, I write orchestral covers too so I found it inspirational. Don't have any feedback to give since I'm still learning how to recognize errors in my own compositions lol

I'm just wondering how everyone goes about making music relative to how they use to in the past. I now play covers by ear so I actually layer track by track, where as I use to work on songs section by section for example, at least more so than I do now. Also the last few songs I've made, I wrote in one or two sittings (I'm not too happy about that because they were in 6-12 hour sittings). I'm also using templates, cross-fading samples, and blending samples more. While my project is more efferent, I'm looking for ways others have improved their efficiency.

For those of you who manage to successfully use EWQL, do you have any go to sample sets? Me personally I end up using the running/flowing 10 cello or viola instruments when I want a sustained sound for example. I never actually documented which ones I use the most but I'll run through my work and take a look. But for you all, what combinations do you find best? What do you layer instances with (if you do layer)? I know these are broad questions. but I'm just wondering how you use this library.

I'm definitely getting that vibe, and it's something I didn't want to write off immediately so I've been watching other people work around with it.

I was considering getting action strings when NI had their sale around my birthday in september, but I didn't. I felt the phrases would take away from my ability to naturally come up with stuff. Incidentally now though I'm interested in action strikes because I find it difficult to come up with varied orchestral rhythms.

What kind of reverb are you using?

bump for halloween edit

bump for edit and completion...

Hi friend, I'm an amateur composer who just upgraded to EWQL Platinum. I'm happy, but I totally acknowledge your risks are very warranted. Everything's gone smoothly and the one time I did have a problem (last week) I got a reply in a day after reporting the case to ew through their online case system. I solved in on my own. Most installation errors actually can be handled through online research. I think I actually had one when I first got gold. Worse comes to worse though you can literally rip the samples and folders off the disk and install the version of play that's on the website. The only time you run into problems is if the disk if physically damaged or something. Then the only way you can fix that is if you deal with them, which from what I can tell is one of those things that's up in the air. I have no idea if I can tell if my experience is the norm or completely irregular or in between... Sample player is a software that plays samples, samples being recordings of instruments that are then mapped to midi keys/notes so that you can "play" the instrument. Kontakt is a very versatile player. Where as Play (EWQL's player) only plays 1st party (EWQL's own expensive sample libraries) Kontakt is built off of 3rd party support. Tons of freebies allover the internet, and libraries of different price ranges so you're only obligated to shell out as much as you want. Bonus fact, EWQL developed symphonic choirs and orchestra for Kontakt, they only fairly recently switched to their own sampler for piracy reasons (like in 09). I have Kontakt too, in fact I started with Komplete (Native Instrument's huge library/software bundle). There are tons of orchestra libraries that have been developed for Kontakt and some aren't bad. I will say the cool thing about east west is that it is consolidated material of the same quality in one place, so that makes it feel "convenient" to buy from them. \ For the keyboard I've gone from basic midi keyboard (a casio) to Oxygen (I wanna say 61) to M audio (45?) The major functions you need for orchestration are velocity sensitivity (which some midi out keyboards like my casio don't have, they also add midi data from their hardware banks), modulation (a mod wheel), and maybe pitch bend. You don't really need to worry about advance functions (I've not used them yet and I've been doing it for 5 years almost). Any other miidi functions can be added to your work in your DAW. Feel free to ask me more questions, I know how you must feel and I would love to talk and help.

Forgive me if there is a topic on this, but I want to remix a song however I dont know how to get over that threshold between cover and genuine rearrangement. What kind of ideas/things do you consider in order to begin to reinvent a song?

So I upgraded from gold because there was a really nice sell and it was my b-day. I copied the sample folders into the existing ewql orchestra library, but while play now reads the samples, I am unable to load mic positions. Is this a problem with the way the directory is set up or do I have to reinstall? Also I cant change the bit depth from 16 to 24, which presumably is also a directory issue? Anyone have problems with this library?

I made this in a few hours and got bored with it but decided to share it. I'll probably come back to it one day. https://soundcloud.com/mickomoo/legend-of-zelda-eagle-tower

Deep and complex, I love the harmony here.

That expalins everything. That honestly gives me a better reason for understanding my prefrences as well. I don't know why I didn't think of that. YES!! Though I have to admit my love of the human voice was "aquired." I noticed at first my like of music (or my ability to describe it) was limited to timberal qualities, I could only name a limited number of instruments I thought I "liked" but the truth is that in any circumstance any instrument can be likeable. As I expanded my taste and even my composition comfortzone I started to have more "favorite instruments" until I realized it wasn't per se qualities inhernt to one specific instrument. That's debatable. In part (I would say) because of semantics, but also just evolutionarily. There are evolutionary biologists and psychologists who argue music was an accident. It's possible, some of them say, that things like rhythm have some biological basis, but that music itself was happened stance or just learned behavior. I'm more inclined to agree with you, but I'm just saying is all... On that note (teehee), have any of you read "This is your brain on music" by Daniel Levitin? As a musican, lover of knowledge, and listener of music that book was awesome on multiple levels.