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Yes, here in Sweden as well. I was able to register my own arrangement for the Chapman Stick regarding a trad folk tune. Originally this was just a melody passed from fiddler to fiddler over several generations and written down for the first time in 1906. A piano jazz player made an arrangement with a record release in 1967.
My fastest way to come up with shorter versions:
I’m starting with the full-length version (from bar 2, because a short silence is needed before the first downbeat. In Logic I liked when you could set the cycle range to start at a negative time-line number to render that initial silence, but I don’t think that is possible any more). Then I save as a new project (or “alt version” in the same document, if using Logic), set the cycle/loop range set to 60 seconds and drag the cycle/loop range around the full-length arrangement to quickly find an area that makes sense to start rearranging into a 60 sec version.February 22, 2019 at 1:06 am in reply to: What Style to Compose if You’re Not Submitting to Briefs #31737
Yes, this is a good topic! Over here I tend to focus on the most fun styles to work in. It could be such simple things that I may have switched the Telecaster neck for a long baritone, and then I want to explore that; writing and recording to suite that instrument. I recently achieved a sitar, so ´there’s a whole new paradigm I cannot wait to get at. For a lot of acoustic instruments – sax and flutes in my case – I have picked up very good software for my EWI that allows me to record totally electronically. Not having to put up an acoustic mic, adjust it and await a silent time of the day is worth a lot. 🙂
I kind of pick a genre that will sound good with the instrument I’m in the mood for that day. That’s a related strategy to how I tune physical string instruments; I set the range and choice strings depending on how the particular instrument sounds best. Like sort of “reverse engineering” the writing and production process to speed it up and have more fun. My all-in-the-box EWI tenor sounds almost exactly as my physical Conn tenor with a metal Otto Link 9 star, so I guess we all have our “voice”, that might be a curse or a blessing depending on what you set out to do.
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There is also a lot of ducking/side-chaining of reverb returns going on in this track (triggered by https://musiclibraryreport.com/category/robins-nest/the kick drum and with a slow release time. Maybe also specific frequency bands ducked by the kick -EQ splitter fix).
I’m a very happy Fractal Audio AxeFx-II user. Using it at live gigs (with two active full-range speakers or line-in FOH) as well as in the studio, where it also doubles up as the audio interface for computers. Works great not only for guitars but also with dual output instruments like electric harp guitar or CHapman Stick, where you typically run two parallel virtual rigs. I even make flute patches (for mic input) in my AxeFx. As for IRs, I’m happy with the factory packs.
To me the most useful aspect of the Fractal is its extensive modulation options. That’s especially great when I play electric cello through it, using the instrument’s amplitude (how hard I’m bowing) to modulate the pre-amp overdrive. Can get extremely expressive 🙂
I use to put up some of my tracks, made for NE libraries, on Soundcloud, just to take in opinions from all kind of people on the music. Sometimes someone types in a comment that may give you a fresh phrasing for your “pitching text”, that has to go with submitting the track to libraries. Different people do experience music differently and I’m finding Soundcloud a good way to grab a little “third-party’s perspective”.
Tracks for exclusive libraries never goes out anywhere public before I deliver. I might put up a temporary Bandcamp page just for discussing the “album” with the agency.February 9, 2017 at 5:16 am in reply to: Composers /bands who don't use samples or orchestral instruments…. #26807
musicians that don’t use PRIMARILY orchestral instruments or samples instruments in thier composing and are still licensing stuff like crazy.
Not that I’m licensing “like crazy” 🙂 but I have noticed that some tracks I simply played right off the bat on a Chapman Stick sell more licenses than my orchestral stuff (realized with LASS and some Spitfireaudio brass and wind libraries).
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PRO backend, exclusive and RFs libs are all down a bit, except for P5 that has increased. In order to chase a decent income, I’ve increased my local concerts (which brings on hand-to-hand CD sales)
I just want to add an important point, I forgot in my previous post: Cubase offers something that I dearly miss in my Logic X, BitWig and Ableton Live. That is the option to deactivate an instrument track and regain both used CPU cycles and RAM memory. That’s speeding up your work a lot in case you prefer to work with a huge orchestration template that keeps as many instruments as possible loaded for immediate hands-on playing. You typically can’t have everything loaded into RAM, so you are forced to bounce instrument tracks to audio files or freeze them (Logic’s terminology). But freezing in Logic only reclaims CPU, not RAM used by Kontakt 5 for samples (enter Cubase).
That FabFilter video is spot on! In fact, I’ve learned a lot from all their educational videos. When I finalise my mixes I use to set up a MS matrix in the DAW mixer; about the same approach as that video above, but with direct routing rather than using a plugin. The way I do it is to split the master into three parallel stereo channels. One gets treated by shifting left and right, the second gets treated by phase reversion and the third simply gets monofied. By summing these three stems you now have total control over the stereo field (as well as optional processing of side channels vs center field)
I also use to set up a parallel compression channel, that sidesteps the full MS treatment. Very little of this iis mixed with the master – like at -16 dB somewhere – just to give a little warmth to the wide stereo. A subtle fix that adds definition.
I also like to slap a console modeling plugin on most of the channels in the mix; it’s called “Strip Bus” (or maybe “Bus Strip”?) by the Italian company SKnote.it. Having this helps to get rid of some mid frequency mud and it opens up the sound. I assume it is the subtle dynamic and EQ that causes this effect. Adding the SKnote Strip to just one channel doesn’t do much that a normal EQ can’t provide, but when applied to all tracks in a mix this subtle dynamic processing adds up to a much better sounding summed mix (master). In short, it is a console modeling plugin.
I always do an additional 30 sec and 60 sec version. Sometimes also versions with a different instrumentation.
My workflow is to first finish the main version and mix a master version in Logic. Then I use Logic’s excellent “alternatives” feature (MOTU DP has a similar thing, I’ve heard – and probably many other DAWs). So I start each “alternative” with the full main version mix, to keep the mastered sound, while moving parts around in the arrangement. Sometimes I might even change the tempo here and there to be able to keep musical material that makes sense while still hitting the exact track duration. A really good kick-off I’ve found is to use Logic’s Cycle set to the new track length and then I simply drag it around to see where I have some good musical parts to build on for the new version. I appreciate doing this “remix work” on the full production, rather than on mastered audio files or stems.
Interesting post! I really like breath control. So far I have indeed played the EWI, but found no breath based solution for two-handed keyboard playing, instead of relying on expression pedals. Now, this post gave me the exciting idea to build a desktop stand for my EWI and use it for enhanced musical expression; just merging its CC#1 and/or #2 output into whatever polyphonic stuff I’m playing with bo hands on the keyboard (mostly an Ableton Push in my case, as I like it better than the conventional piano styled keys layout).
Here’s a method to make smooth loops:
1. Cut away audio after the loop point.
2. Play the file and record the reverb tail following the abrupt end at the loop point.
3. Move this recording, of the reverb tail, to the start point (= beginning of loop file).
4. Set up a natural sounding mix between the two files and sum them into one final loop file.
Now, when the loop spins, there will be no loss of reverb tail; smooth looping.