Thanks, Michael! I’m very glad you enjoyed the piece as it stands so far! I appreciate the comments! Not harsh at all!
For years my mockups were done by exporting a Finale file to an audio file. It’s taken me a while to become conversant with DAWs (Logic Pro X being my DAW of choice). I’ve got miles and miles to go before I’m where I’d like my digital skillset to be.
This was done with minimal attention to mixing. It was (and is!) a way for me to work through my own learning curve for both orchestral mockups and growing my mixing skills. I snuck this in between other projects so I had one eye on the clock. More details and iterations to come!
To your comments:
I’ve made comments in the forum about using orchestral weight to manage crescendos and diminuendos by adding or removing instruments. I used that technique here.
Agree on the low end muddiness. Haven’t EQ’ed anything. I used the LABS Soft Piano patch which adds to the blurring, I believe. While it fits for the translucent opening feel I probably will use a different, edgier patch during the ensemble sections.
In other mockups I’ve mixed Spitfire with Metropolis ARK1 and ARK2 libraries which are extremely wet. As a low brass and euphonium player myself the euphonium patches in ARK2 are the only ones that come close to a true euphonium sound, IMHO. CineBrass is good however it comes across as harsh to my ears. (I need to spend more time fine tuning how to mitigate that.)
Tambourine is part of the BBCSO unpitched percussion. I’ve got all the percussion on one track and will, when time allows, break them into individual tracks for more audio control. The one track approach was for expediency. I agree it’s too far forward. What are your thoughts on automating the mic tree to push it back into the mix rather than simply turning it down? You did a video on using reverb I will be referencing when I get to the mixing part of this piece.
The B section here uses tuba doubling the basses in whole notes. I’ve since gotten rid of the first four bars that which saved the weight for the ascending G-A-Bb-Eb-F line. Did a little volume automation to help shape it as well. What are your thoughts on modulation vs volume in the BBCSO patches?
Also during the B section I added the piccolo an octave above the clarinet melody which brought some shimmer and highs into the pallet which I felt were missing after listening to this again.
Sorry for the long post. Again, I appreciate your comments and critique! Please voice them freely!
Take care!
Stan