PerLichtman

@Devsman Just wanted to mention that there's a "tin alto flute" in the free thread om VI-Control that I linked to earlier, in case you didn't audition that yet. Also, I have a vague recollection that EastWest may have included one in the old EWQLSO play free version, if you can still find that hosted anywhere since I think they discontinued it.

@Devsman There's some free big hits in this thread. http://www.vi-control.net/forum/viewtopic.php?t=39219&highlight=free+samples And my apologies if this has been mentioned before - I've only read some of the posts in such a long thread - but there are several free orchestral (and otherwise) instruments listed in this thread. http://www.vi-control.net/forum/viewtopic.php?t=27876&start=0&postdays=0&postorder=asc&highlight=fortissimo+trombone

In case anybody is looking for solo, divisi or large ensemble strings, I wanted to mention that I'll be doing a huge round-up and review series for the July issue of SoundBytes Magazine at www.SoundBytesMag.net. So I wanted to know: what libraries would you be curious about? What sort of tests/examples/comparisons would you guys like to hear? Here are the string related products that we have started reviewing for the issue. - Embertone Blakus Cello 1 (we will likely include Friedlander Violin 1.5, too, if done in time) - pocketBlakus (legato and spiccato versions) - Prague Solo Strings - SimpleSamSamples Signor Paganini - VSL Solo Strings I Full - Cinematic Strings 2.11 - XSample Chamber Ensemble - Acoustica Audio Stradipad - 8Dio Adagio and Adagietto What other string or solo string libraries would you most like reviews of? Spitfire Audio has said they may try to supply libraries for the issue, and I have licenses for Hollywood Strings and Strezov Sampling's Cornucopia and TIckle. Most developers have been happy to provide NFRs in the past.

OCRemixes: I don't write very often, even though I've been coming to the site for coming up on a decade and a half - but this is something I think you'll all want to get involved with! It involves video game scoring history, interviews with people working in the industry and donating part of the proceeds to music and arts programs. If that catches your interest, read on and then message me or post here. Thanks! (Oh, and if this thread gets active, I'll go ahead and post the interview with Nobuo Uematsu and Arnie Roth where I told them about OCRemix for the very first time!) Next year I will be launching a group of (in-person) seminars, lectures and a YouTube series with one thing in common: part of the the profits gets donated to educational programs for arts or music, here the Los Angeles and San Gabriel Valley. I want to help support creative education, both directly and indirectly. If you want to support, there are four ways you can help - so PM me if you are interested in any one of them and I will keep you updated! 1) We need interview guests! One of the series is called “High Scoring”. This is going to feature interviews with game and film scoring composers talking about the history and craft of scoring. Far from the usual discussion emphasizing creative process or tools or “industry realities”, these interviews will actually look at musical influences and changes in scoring approach over time. The continuity of composing for media. Following this discussion, the audience will also have chance to participate in a Q & A. Several people have already volunteered to be guests and all I can say is “thank you!” for your desire to both help the arts and to help expand the perception of what we do as composers. It is my hope that the series will help both help to give a sense to the greater public of the history of what we do (in much the same way that music history classes do for classical composition) while providing a unique perspective to those of us already in the scoring community. Admission should be only a little more than the price of a movie ticket. 2) You can come to one the interviews, lectures or classes. It currently looks like they will be held in North Hollywood and tickets will likely be $15 to $25 depending on the event. 3) You can help us gauge interest in terms of the potential classes and the best schedule (for instance, would weekday evening or weekend evening classes be better?) Here are some likely candidates (but feel free to suggest your own): - “High Scoring” The History and Culture of Film & VG Scoring - Supporting Your Child’s Creativity - Intro to Photography and Video - Composing and Producing - How To Communicate Better With Your Clients and Customers - Cultivating Creativity - Developing Expertise: The Keys to Learning Effectively 4) We will be launching a YouTube series in conjunction with “High Scoring” and possibly other courses as well. That means if you want to donate time or labor to any of the related areas (recording, filming, editing) it will be greatly appreciated. The more help we get, the more content we can create in a short period of time and the more attention we can bring to our craft. 5) We will need to get word of mouth out! Even if you can’t help directly or attend in person, chances are you know someone that would want to come to the seminars or classes or at least would want to watch the videos. Anyway, this is something that I’ve been laying the groundwork for a long time and we only recently found a good venue for it. So I hope you’ll support us in making it happen any way that you can. I feel like we can really help make a difference, both for our peers and for the children that will soon be following in our footsteps. So if you’re interested, please PM me or e-mail me at per@perlichtman.com. Thank you.

Yeah, you pretty much can't get me to stop talking about pianos. I've carted across the L.A. area, driven for an hour at a time, just to play different (live) pianos. Luckily, one of the most evocative ones I've encountered is less than a 20 minute drive away, easily surpassing the sound of a certain $200,000+ piano I played nearby (as well as all the ones I've heard in concert halls to date). That helped back when I was dating a concert pianist, but now I get to keep it to myself... whenever I visit that place. But in terms of the sampled pianos, best of luck with your continued work. I love the instrument and always want to hear people get the most out of it.

I completely agree with everything Jared said. You might want to take him up on sending him the MIDI file.

Jared's had a good ear for sample libraries since before "multi-mic" libraries became the norm, so it's no surprise he steered you right. I'll add a few more notes just in case anyone else is exploring the same area in their piano work. Anyway, there's really only 3 libraries that are geared toward that sort of sound: Malmsjö Acoustic Grand (Art Vista), Bluthner Digital Model One (Pro Audio Vault) and Emotional Piano (SoundIron). Here are the links to each. The Bluthner Digital Model One link also has a lot of comparisons with other libraries (like Ivory and Quantum Leap Pianos, both of which sound very different). http://www.artvista.net/Malmsjo_Acoustic_Grand.html http://www.proaudiovault.com/index.htm http://www.soundiron.com/instruments/pianos/emotional-piano/ All three of these libraries are small in size, give you samples from one microphone set (as opposed to mult-mic libraries like Quantum Leap Pianos) and can be very warm in tone. Each of them has specific features that set them apart. Note, my observations are based on at least two years of experience with the libraries in question, except for Emotional Piano (where it is based on the demos and product pages). Malmsjö Acoustic Grand samples a piano by a Swedish manufacturer that has (to the best of my knowledge) not been covered by any other library. It is warm, gentle and very easy to play, in part because of its more limited dynamic range. If you want it to sound anything but warm and smooth, you'll need to put a lot of effort into the mixing work. The library does not come with a player, so you need to have GigaStudio, Kontakt or EXS 24. Bluthner Digital Model One has full, warm and smooth tone by default, but has an entirely different approach to dynamics and has been sampled more extensively. This means you could use it for everything from the general warm timbres on to concertos brighter pop if you wanted to, without having to use external EQ. It is more expensive than the Malmsjö Acoustic Grand, but also more recent, more flexible and more comprehensive. It also features several impulse responses by Ernest Cholakis, whose convolution libraries normally sell for hundreds of dollars. Emotional Piano is the only library out of the three that features repetition samples. I haven't had a chance to hear for myself how big a difference that makes in the sound in this specific case. The library seems to have more in common with Malmsjö Acoustic Grand than Bluthner Digital Model One, but has been updated more recently than either of the other two. I used Malmsjö Acoustic Grand the most for my work with Joanna St. Claire, Bluthner Digital Model One the most for my own and am curious about Emotional Piano. Current U.S. street prices (at the time of writing) Malmsjö Acoustic Grand $99 Emotional Piano $149 Bluthner Digital Model One $278-299 MAG: Foolproof - hard to screw up the sound. BDMO: Flexible - great sound with great control. Emotional Piano: Repetition samples - remains to be seen how big a difference these make. So there you have it: my unsolicited guide to the three pianos best suited to getting that warm sound without extra mixing tools.

This is one of the best video game remixes I've heard. It takes the best elements of the original and enhances them in such a way that it heightens the original drama, doesn't sacrifice anything and still manages to be creative and have it's own character. That said, I rarely listen to the orignal anymore since I got this mix. A must download for fans of the game, dramatic tracks, high energy tracks, dark tracks and electronica fans in general.

I haven't posted in this thread for quite a while now but after having read some of the comments during the last year or two I thought I might provide some food for thought. I think this remix is a wonderful illustration of the importance that every change made to a song can have. I encountered the mix so many people have referenced from the Final Fantasy vocal album years before I ever heard this one and it was for a long time my favorite mix of Terra's theme. Now it share that position with this track as both have equally valid approaches to the track which differ significantly in their impact. If we look at trends in art music (sometimes referred to generically as classical music regardless of the period) we will find that musical styles change to become more and more complex until once again a simpler style takes over and the process repeats. During the twentieth century we find examples both early on (think Eric Satie's Gymnopedies) and much later on with the minimalist school (Phillip Glass, Stever Reich, Terry Riley and my old teacher John Adams). I think it would be folly to say that minimalism is technically inferior to say serialism and dodecaphonic music. Instead the attention is being put into different areas. This remix is very carefully constructed. By using pads effectively layered with the sound of a distant drum, and crackling background noise that plays with people's associations, a beautiful bed is built upon which the piano's simple repeating chords layer to create an emtional response. This wraps the listener in a beautiful environment that makes the acoustic guitar all the more effective. Then of course later we get horns, a second drumbeat, and a few other well chosen elements during the section starting around 2 min 22 secs. The choices in arrangements combine to emphasize the loneliness, sadness, distance and isolation of the scene being portrayed. The FF vocal collection work so often referenced here portrays Terra in a very heroic light and goes for more sweeping gestures etc. Personally I prefer this remix to say for instance Jeremy Soule's one, which is a more complex arrangement that takes greater liberties. In short, it is important for us to respect the impact of a subtle changes and have respect for minimalist interpretations.

Well, it looks like there's been a lot of interesting discussion since I was here last. I'm sorry but I still can't tell if you are being sarcastic Protrocity, but that's an issue with my extended time away from the forums as opposed to the post. Nonetheless, if you have time to clarify, I would appreciate it. Take care all.

Having recently had a performance of one of my art music pieces that was hampered by tuning difficulties and missed pitches, I was prepared to not like this piece. However, for the most part, I didn't really think about it. There are several notable exceptions but generally it wasn't something I paid much attention to. As far as whether the cumulative effect of the altered tuning generally helped or hurt the piece, that's for other people to decide. On the other hand, I really liked the arrangement and the recording quality of the instruments. I disagreed with the use of dynamic pans but overall I like this mix a lot more than I thought I would. Congratulations to the artists.

Okay first off this one of my favorite remixes on the site and certainly the best thing I've heard DJP do i.m.h.o. I like the intro, I like the high energy of the piece and the way that the effects effectively raise the energy of the piece and actually add to it... I have qualms with many other remixes on this site where the effects are used as an interlude to steal the momentum of high energy song or are used in a manner that seperates themselves from musical form. In this piece the wild flanging, filtering, etc. are all used in a manner more along the lines of extreme articulations and lend the piece the most vitality that I have yet seen DJP put into a fast piece. I liked this version of the mix so much that I ended up going back to play F-Zero and am currently working on my 3rd or 4th remix of the same piece which I probably won't release unless I can attain a similar level of energy as that reaced in this one. DJP has added to song with his effects, with his intro and musical deviations from the original and has created my favorite mix of this very cool track.

Okay, everyone remember Beatdrop's two renditions of his FFVIII Man with the Machine Gun remix? Now previously I held these to be his two best works though now that's debatable. In the first rendition of that mix he had some really interesting ideas and fairly strong mix but I think a lot of people were scratching there heads about his choice of instrumentation. It wasn't until the 3rd listen or so that I really began to appreciate that rendition for it's high energy and creativity. Then Beatdrop came back with his newer rendition that had much easier to listen to leads and a somewhat different feel. From a production stanpoint I vastly preferred it (except that the mix had a strong bias towards the left) though I still enjoyed some of the compositional touches of the first mix. Now with this mix Beatdrop finally has a mix that I don't have any ready criticisms for. My hat goes off to you Beatdrop, thanks for proving that your MMG works weren't a fluke.

As a change of pace, we have an actual remix as opposed to arrangement/cover to discuss today. Now a lot of you are probably thinking: "How good could it be? The remixer didn't have access to the original isolated tracks or samples?" That's a valid concern that is best addressed in the following manner: Prievert has so masterfully blended together together the original instrumentation with new and carefully chosen synths, filtering, gating and eq-ing in an extremely artistic and effective manner. This remix is arguably much better than the arranged original and differs significantly enough to be played directly on a playlist without complaints. It has the qualities shared by my favorite mixes: it's emotionally powerful, skillfully mixed, artisticly enticing and has an epic or timeless quality. A worthy addition to any listner's library and another entry in Per Lichtman's growing list of Must Listen picks. 5 Stars Per's OCR Star System: 5-One of my favorites. 4- I'll listen to it a fair amount but it lacks that extra "something" to be great. 3- Above average but not enough so to get much playtime in my list. 2- Average 1- Lacking

For those of you familiar with Israfel's work at http://www.mp3.com/israfel/, you probably already know that this is an artist who is fusing together Renaissance/classical/baroque music and electronica in new and exciting ways that maintain the best elemens of each. You won't find synth leads emulating authentic instruments here, you will find extremely good samples of the authentic instruments. You won't find yourself floating into complacency or boredom as once interesting Renaissance works lose their impact through repetition. No, what you will find is a dynamic and varied structure that moves from one genre focus to another, gripping the listeners' ears and intriguing the more classically among them with well structured musical elements that you nonetheless don't need to be an elitist to enjoy. Tear for a Moonlit Night is arguably Israfel's best work, though many seem to prefer his remix Deep Velvet Scherzo on www.vgmix.com. This reviewer still prefers Tears for A Moonlit Night. The first time the reviwer heard this mix, it was occupying a spot near the end of a 2 hour playlist of new OCR material. When this mix came on, it prompted the reviwer to literally run up to the computer and check to make sure some mistake hadn't been made, that this wasn't a commercial piece... it was incriedible. The mix moved from the intimacy of the chamber music, small ensemble setting through a majestic transition into the realm of the epic before settling into a relatively smooth groove before dynamicly moving into a DnB influenced high energy section mildly reminisicent of McVaffe's skillful work on MakatoJungleJazz. Israfel's mix stands as a shining example of the powers and pleasures of trans-enre work. It finds it's way without question into the rather short (but growing list) of Per Lichtman's must listen picks. 5 Stars Per's OCR Star System: 5-One of my favorites. 4- I'll listen to it a fair amount but it lacks that extra "something" to be great. 3- Above average but not enough so to get much playtime in my list. 2- Average 1- Lacking