The Sound Board

Scoredog wrote: ↑Jul 27, 2018 9:06 am It has a bit of overlap to the EVO's, but here you can play individual instruments instead of things stuck in a group. As I mentioned on VI you won't write your next concerto with this, but putting together medium to slow evocative cues is like nothing else. I am not having an issue with transitions because I am not trying to make it do something it was not designed to do.

Start to Finish 20 mins, added Tina Cello on unison line near the end.

https://www.dropbox.com/s/x5oxwhghrssyi ... e.m4a?dl=0

This sounds lovely, thank you. To be able to evoke this sort of mood quickly & easily appeals to me, I'm not ashamed to admit it, and Tina Guo Legato (which I have) is, rather obviously perhaps, a perfect compliment to this sort of thing. I wouldn't write a whole piece centered around what you've presented here, but for just a pinch of fluidity I think it sounds really good.

My first user demo:

http://www.ljnmusicandsound.com/2018/human-touch/

Craig is faster than I am-the full track took me an hour plus I used three tracks (celli, basses and flutes) and tried to keep anything from sticking out. This is the bed version-for the final track I did, I added some low percussion and a piano-synth combo for the particular gig I'm working on.

Here's the full track:
http://www.ljnmusicandsound.com/2018/human-touch-full/

(edit-slightly remixed tracks posted)

Larry your piece is almost 2x as long as mine...

Nice textures, my guess it would be difficult to do this with anything else...

Thanks Quasar and Frank for the listen.

Frank I got the levels to where I want them but the thing is say this was your piece, there are ways of dealing with things unlike an EVO where everything is just in a large section. You can control individual players and I think that was the ultimate selling point for me.

Thanks to you both for posting (apologies for just laptop listening for the moment). Both tracks come alive for me when added to other instruments - the cello in yours Scoredog and the synths and percussion Larry. On its own it is quite pleasingly soporific, but it has been a long day.

Wonderfully, Larry! Certainly, as Guy mentioned, the piece comes more alive with the additional percussion and synth, and I also like that you've moved away from the minor key environment used in so many of the other 'demos'. When I first heard some pieces from this library I began wondering if it can be used to create a more soothing and postive background and you've proved that it can. Craig seems to have moved in that direction as well with his latest amazing compostion posted over on V.I. Very reassuring for a potential purchaser, and my sincere compliments to both composers.

Frank you are so Canadian!

(my wife is also from BC)

You mean, like, kind and civil?

Yup

LOL, I'll take that as compliment!

I like what I hear. I am not sure how much it crosses over into other similar series from Spitfire but I think this is a nice direction they have been following over all. It can add interesting layers/movement to any cue and I think it would work well.

What is nice to see with all of this is that you cannot always get this done live or that you don't have to, if you are just doing a hybrid sample/live production to add more interesting sounds. Or just a splash of an orchestral 'sound aesthetic' (sorry!) to electronic sounds and beds.

Lawrence wrote: ↑Jul 27, 2018 5:26 pm My first user demo:

http://www.ljnmusicandsound.com/2018/human-touch/

Craig is faster than I am-the full track took me an hour plus I used three tracks (celli, basses and flutes) and tried to keep anything from sticking out. This is the bed version-for the final track I did, I added some low percussion and a piano-synth combo for the particular gig I'm working on.

Here's the full track:
http://www.ljnmusicandsound.com/2018/human-touch-full/

(edit-slightly remixed tracks posted)

Thanks for posting this Larry. Sounds nice!

What is the clicking sound at 1:13? Sounds like its baked into the performance of the patch.

Some very nice compositions from both of you. Like everyone else I much prefer the full version of Human Touch.

So I find myself back on the fence. A $50 discount is $50 in my pocket, and I am very interested in the approach, but I can't think of a single thing I'd do with it right now. So I will probably wait, and either pay full price or maybe take advantage of the next discount.

Or I'll listen to more demos, watch videos, and drive myself halfway nuts trying to decide!

Tanuj Tiku wrote: ↑Jul 29, 2018 9:27 am

Lawrence wrote: ↑Jul 27, 2018 5:26 pm My first user demo:

http://www.ljnmusicandsound.com/2018/human-touch/

Craig is faster than I am-the full track took me an hour plus I used three tracks (celli, basses and flutes) and tried to keep anything from sticking out. This is the bed version-for the final track I did, I added some low percussion and a piano-synth combo for the particular gig I'm working on.

Here's the full track:
http://www.ljnmusicandsound.com/2018/human-touch-full/

(edit-slightly remixed tracks posted)

Thanks for posting this Larry. Sounds nice!

What is the clicking sound at 1:13? Sounds like its baked into the performance of the patch.

Hey Tanuj-if you're talking about the full track, I think that's some ticky perc I added. Listening back, it's sort of annoying.

Oops, sorry I just heard the full track. I did not pay attention to the two links. Yes, the full track is totally fine. It has percussion. I was talking about the first one, there is a click sound that only comes once at 1:13.

Very much like the full track though. The percussion is also good, may be a little bit of damping on the reverb or tiny EQ over all on it.

Anyway, thanks for sharing.