Jump to content

suikun

Contributors
  • Posts

    20
  • Joined

  • Last visited

  • Days Won

    1

Profile Information

  • Gender
    Male
  • Location
    Germany

Artist Settings

  • Collaboration Status
    1. Not Interested or Available
  • Software - Digital Audio Workstation (DAW)
    Cubase
  • Software - Preferred Plugins/Libraries
    Vienna Symphonic Library (orchestral), EastWest (orchestral), Embertone (solo strings)
  • Composition & Production Skills
    Arrangement & Orchestration

Converted

  • Twitter Username
    shishisenkou

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

suikun's Achievements

  1. Updated the first post with a somewhat current WIP. I've added the second part, so at least the arrangement is done. Now follows all the detail work like humanization and whatnot. Hours and hours of CC curve editing... I've taken care that everything should still be humanly playable. All of the violin's double stops work out fine. Starting at 2:51 the piano will have to do some far jumps in the left hand, but there should be enough time...I guess? @HarlemHeat360 The instruments are not sampled. The sound is created on the fly, so they are actually closer to a synthesizer.
  2. A still very much work a progress arrangement for piano trio, in this case piano, violin and cello. It's a lot of fun to bounce the melody between the different instruments to give them all their spotlights. Spinning counterpoints from previous melody snippets is such a great cheat (the cello line at 1:30 is the best example). List of to-dos: Vibrato automations need more work to sound more convincing in a lot of places. Bow changes and slurs are super halfbaked. Bow pressure and bow positions need to be automated for more realism. All instruments are modeled and don't use samples. It's amazing not having to fight them to get them to do what I want or wrestle with sampling limitations and inconsistencies. The downside is that you have to explicitely tell them what to do in excruciating detail. Update (16.09.22): Changed the attachment to the current WIP. The second part is done, so at least all notes are put down. Now to the ardous task of humanization... 20220611.ogg
  3. Thanks for the feedback. It's true that there is not a lot of contrast. There's a actually a lot going on in the instrumentation, but many key elements remain largely the same, so there's not much percieved variation.
  4. I completely re-did the mixing to address some issues that had been bugging me forever. The mix should be a lot more transparent now, and all instruments have moved closer to the listener. Through the magic of parallel compression many quiet parts should be more audible. I've also eq-ed most instruments to sit better in the mix.
  5. After some more deliberation I don't think I have anything to add to the piece and am marking it as ready for review. I'm still a bit concerned about the tension management because the overarching crescendo is not that noticeable, but the bridges between the different themes should provide enough variation to keep things interesting.
  6. This is a mashup between Lifestream and the themes for Cloud (i.e. the FF7 main theme), Tifa and Aerith. The original plan was to include all character themes, but squeezing them into the 6/8 meter and completely changing the harmonies around to fit the Lifestream backing proved to be a bit too challenging. Every character has their dedicated woodwind instrument: Cloud is the clarinet, Tifa is the oboe and Aerith is the flute. When a character's theme becomes the main focus they are also doubled by a solo string instrument in the same register order: Cello for Cloud, viola for Tifa and violin for Aerith. Every focused theme is also accompanied by fragments of the other character themes using their respective instruments. The fragments are sometimes stretched or squished, and sometimes only the melodic idea remains. Mostly for Cloud this can render the original song somewhat unrecognizable, for example at 2:18. And again for Cloud, because the main theme is so long and they had to be changed to fit, the two fragments at 2:46 and 2:54 may not immediately ring a bell because they are from completely different parts of the original and preserve only certain musical aspects. This is my first try at really integrating multiple songs into one arrangement, but I'm highly satisfied with the result. I think the piece in its entirety is cohesive enough to be perceived as one and not just multiple arrangements tacked together, so it should still qualify for OCR submission. Edit: Updated attached music file. 20210912.mp3
  7. Thank you for the evaluation! I definitely struggled with setting apart the second iteration of the main theme from the first one. To visualize the structure to make it more explainable, the parts are Intro, A1, A2, B1 (brass) , C (tremolos), A3, A4, B2 The intensity is currently A1 < A2 = A3 < A4, in fact the only major change between A2 and A3 is swapping the melody support from second to first violins and the tacit on second violins. This is mainly to set A3 apart from A1, and back then I couldn't easily think of more what I could have done. Your comment about subtractive arranging is spot on though. I could have removed the irish flute from A3 and A4 completely and replaced it with alternate instruments; for example have woodwinds do the melody in A3 with the strings supporting and swap that around for A4 (I really like the current sound of the doubled melody across the violins and violas). The irish flute could then come back in for the finale in B2. I might toy around with that before submitting, which I definitely will do And I will have to come up with a name for the song, oh dear...
  8. Thanks for your impressions. The flute is Embertone's Shire Whistle which punches way above its price point. The ornaments were just me being a derp, most notes were input via mouse and not played in. The general idea is now to have the first run of the theme melody be just that and the second run to add some more variation in the form of ornaments and portamentos. As for how to make the arrangement stand out more, right now this is as far as my current ability will carry me. This is only my fifth finished work and I will need to gather more experience with other songs to get a better grip on what could be further improved. I already learned a lot from this arrangement, and I hope this trend will continue with the next arrangements I will attempt. However, my main goal was not to make the arrangement different for the purpose of making it different, but to create something that I would enjoy listening to, and regarding this aspect I am quite satisfied. I'm particularly proud of the various counterpoints, the use of tremolos and trills, and the brief Prelude phrase.
  9. It's been done to death, but here's one more arrangement to add to the pile of Terra's theme remixes. It's almost done and currently I only plan on very minor revisions, mainly some small issues in the brass and the ornaments of the irish flute in the beginning. I'd be glad for any feedback though. Note that the strings are positioned in German seating, so from left to right it's Violins 1, Chellos, Violas, Violins 2, and with Basses on the left behind Violins 1. All other sections are close to where you would usually expect them. The arrangement is as strightforward as it could be so it probably doesn't qualify for the level of transformative work required by the OCR standards, but I'll probably still give it a shot. Edit: Updated to final version. 20210509.ogg
  10. Updated to V1.7: Fixed clipping issues during tutti sections. Fixed some balancing issues in certain parts. EQ'ing on several instruments. Changed reverb just a bit. Redid the automation of some parts of the first violins (the story never ends...). I will let this sit for some days and come back with a fresh ear, but aside from some minor fixes I'd consider this (finally) done. I will probably never be entirely happy with the realism of the violins, but I've run out of ideas what I could try. The only real big option would be dynamic vibrato changes, but VSL Dimension Strings is fatally flawed in that patches with and without vibrato have different volumes with the non-vibrato patches being way too quiet. This makes the non-vibrato patches effectively unusable in any melodic situation. I wonder if there's anything I'm doing fundamentally wrong in the way I'm using the sound libraries, but from everything I've seen I've exhausted most features which could improve the realism.
  11. Updated to V1.6: Fixed really obnoxious oboe as described in previous post. Finished reworking all remaining instruments. There's still some things left to fix in the first violins, but aside from the last remaining task is cleaning up the mix. I've already eq'ed into the basses a bit to clean up some muddiness, but the lower brass probably also still has something to fix.
  12. Updated to V1.5: Changed woodwind samples Upgrade string samples Redid all automation for woodwinds, brass and ensemble strings Lots of reverb and mixing changes The solo strings still need a pass as well as the melodic percussion. Some things have to be fixed here and there in the first violins. Edit: Also after listening to it on some thin speakers...wow, that oboe doubling the strings has to go...
  13. Thanks for the comments! @JulienMulard Yes, I'm still working on this. I got halfway through the new woodwinds so far and will probably post an update after those are done. After that it's back to the strings because of course VSL had to do a christmas sale... @JohnStacy I explicitly dislike the modern "big cinematic" style of orchestation with lots of brass and percussion (oh god the overwhelming percussion). This ain't no Bach, but it's a lot closer to what I prefer an orchestra to sound like. The sound I strive for would be that of the performance of the Chrono Trigger/Cross arrangement in "Symphonic Fantasies". The second piano roll picture is me going "ok, let's write a counter point for the oboe and another one for the clarinet and then double the octaves and..." without thinking. Aside from the problem that you can't really make them out anyway over everything that's going on, there's a lot of minor seconds over long periods of time which make absolutely no sense. The first picture is just the main melody doubled in thirds/fourths and the counterpoint doubled in thirds/fourths which is really boring from an arrangement point of view, but at least it works (hence "ok-ish"). Your remarks regarding the sample quality are actually a real downer because (at least for the current version) the strings are Vienna, the woodwinds are EastWest and the solo strings are Embertone, so the quality should be palatable at least. Could you give some more details where you think the sample quality is lacking? The strings will get an upgrade to VSL Dimension Strings which will finally allow me to access different finger positions to fix some issues which have been bothering me for the longest time (I used to played the violin half a lifetime ago, so I'm sensitive to strings in general). The woodwinds still need work regarding humanization and the brass I'd consider finished. I'm still not happy with the beginning of the solo viola performance because the empty strings make it sound too harsh, but the Embertone VST doesn't seem to support forced finger positions. The solo chello part I'd consider finished.
  14. Updated to V1.3: Fixed a bunch of issues in the solo and ensemble strings that were really bugging me, mostly related to consistent timbre, volume and timing. Fixed accidental double reverb on double basses and trombones (yay, less muddyness). Dropped BPM from 70 to 68. Stretched out ending decelerando to create more gravitas (?). Added the same panning effect to ostinato strings at the end as is also used in the beginning. It doesn't really fit the song's storyline but makes the song overall more musically coherent and this section in particular a lot less fatiguing. Added gradual crescendo in the strings for the opening part. Decreased volume of the background strings in the ending part to better highlight the front melodies. Next up is a change in the woodwind samples which will finally allow me to do unison sections without phasing issues so I can unclutter the woodwinds. Right now there's lots of unison between for example a single flute and clarinet because unison between the two flutes just wouldn't work. This change should really de-clutter the sound scape a lot. While I'm at I should also rewrite certain parts of the woodwinds because this is ok-ish writing: And this is just me being a huge derp:
  15. Updated to V1.2: Massively (in my opinion) improved the string sections by messing with attack and release envelopes. General improvements to ensemble and solo strings regarding volume and timbre consistency. Also made ostinatos less robotic in general for all sections by varying CC1 more. Changed the added phrase from V1.1 to not include high woodwinds any more because they seemed very out of place. Increased volume by 2db, but this might break things in tuttis louder than in this particular song.
×
×
  • Create New...