Orchestral soundtrack for your TimeFest!!!

leogardini

leogardini

Active member
Hi all...if someone is planing to have an orchestral soundtrack for TimeFest please leave a message to me leandro@pacificocean.com.br

Don´t forget to check back soon the youtube link...I´m adding many short movies I´ve scored for fest and others!!!
 
Hey, Leogardini!

i was listening to your sound samples on the websites, amazing stuff!!! I have already agreed with Daz from dazdicks.com that he will create music for time fest, but i would love to work with you in future!
 
Leo Gardini is an amazing composer. If you do not have a composer yet, lock him down for your project. He scored Stricken for me and the soundtrack always inspires ooh and awws.
 
msconce said:
Leo Gardini is an amazing composer. If you do not have a composer yet, lock him down for your project. He scored Stricken for me and the soundtrack always inspires ooh and awws.
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Thanks for your words Matt...Striken soundtrack and many other soundtracks are being updated now...if you are interested in getting it please send an email to me!!!
Larry already got his Leap Of Faith updated score!!!
 
Hey Leo, aren't you a Synful Orchestra expert? I'm sure someone will be able to make use of your talents here.
 
Yes, Synful is very, very impressive. The sound isn't quite as perfectly clean as something like EastWest Platinum, but Synful is so authentic in the way it can be used to orchestrate. If you understand some music theory and basic orchestration, it's much easier to use than even the highest quality samples from East/West, Vienna, or anyone else. I just can't afford it.
 
snowleopard said:
Yes, Synful is very, very impressive. The sound isn't quite as perfectly clean as something like EastWest Platinum, but Synful is so authentic in the way it can be used to orchestrate. If you understand some music theory and basic orchestration, it's much easier to use than even the highest quality samples from East/West, Vienna, or anyone else. I just can't afford it.
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The problem with Synful is that when you A/B it with a real orchestra, it sounds like a synthesizer. Also, when just listening to it, there's always something not quite right about the way it sounds. I think we have a long way to go when it comes to synthesizing entire orchestras.

East/West and Vienna have the problem that they edited the samples to death, until there's no more life left in the samples. Noise reduction, perfect sample starts etc. It sounds horrible to me.
 
Herman, I´m currently upgrading my tools to only synths...I still dependent on some samples, mainly for strings, but soon we´l have great tools for expression with the new synth technologies!!!
 
Herman Witkam said:
The problem with Synful is that when you A/B it with a real orchestra, it sounds like a synthesizer. Also, when just listening to it, there's always something not quite right about the way it sounds. I think we have a long way to go when it comes to synthesizing entire orchestras.

East/West and Vienna have the problem that they edited the samples to death, until there's no more life left in the samples. Noise reduction, perfect sample starts etc. It sounds horrible to me.
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Those are some interesting thoughts. I have to say at this point 99% of the people out there either can't tell, or don't care if a well sampled/synthesized orchestra is real or not or a mixture of both. But some people, yourself perhaps, do have very specific ears and do care, so I guess it matters. I can't say that I completely agree with your criticisms though. I mean, I listened to the demos from the Garritan Stratavaria for example and I couldn't tell, and this is after being a musician for about 20 years and studying classical music in college. But not everyone knows how to use such a tool (or Synful, which I think Leo does an excellent job with).

I personally find that completely mimicking the sound of an orchestra with synths and samples a rather pointless task (though I have to confess I've done it myself) when synthesizers of today can create such an amazing palette of sounds beyond imagination - and not just grinding techno sounds, of which the term "synthesizer" has come to represent. Filmmakers often do want the sound of a traditional orchestra though no matter what, sadly without realizing what can be done elsewhere. I find this demand most peculiar when looking back on maestro Jerry Goldsmith, who spent much of his career using an orchestra in unique ways, or using found sounds, and even synthesizers. It's ironic that we now have the ability to create and make sounds Jerry could only dream about in his youth, and yet we're using them to create faux standard orchestral arrangements - often ones that leave listeners like Herman disappointed.

:undecided
 
leogardini said:
Herman, I´m currently upgrading my tools to only synths...I still dependent on some samples, mainly for strings, but soon we´l have great tools for expression with the new synth technologies!!!
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Call me a sceptic about synths replacing samples within the next few years, but nevertheless I'm very curious to hear what you come up with :)

snowleopard said:
Those are some interesting thoughts. I have to say at this point 99% of the people out there either can't tell, or don't care if a well sampled/synthesized orchestra is real or not or a mixture of both. But some people, yourself perhaps, do have very specific ears and do care, so I guess it matters. I can't say that I completely agree with your criticisms though. I mean, I listened to the demos from the Garritan Stratavaria for example and I couldn't tell, and this is after being a musician for about 20 years and studying classical music in college. But not everyone knows how to use such a tool (or Synful, which I think Leo does an excellent job with).
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I think that listeners, although maybe not experiencing the difference between sampled and live orchestra consciously, appreciate a live orchestra recording (or at least a hybrid - samples+live - production) more than a fully sampled piece of music (even if the mockup is really well done). The difference has become smaller of course, and if the samples have life in them, it can very much sound like a real orchestra. That's why I prefer samples that haven't been 'flattened out'. Also contributing to the 'liveness' is the acoustics of the recordings. The disadvantage is that built-in acoustics make the samples less modular for synth-like techniques.

For me, Synful misses some of the randomness (playing mistakes, harmonics, player noises etc.) that you get in live performances, and you also get a little of in samples, even though with samples it's the same randomness over and over again. Garritan's library is sample based, but uses some synth-like morphing techniques combined with a big sample pool.

snowleopard said:
I find this demand most peculiar when looking back on maestro Jerry Goldsmith, who spent much of his career using an orchestra in unique ways, or using found sounds, and even synthesizers.
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I love how Goldsmith used synthesizers as part of his orchestral pallette :beer:
 
I think we're pretty much in agreement Herman.

By the way, I listened to the music on your site. Very nice work. I wish I had written it.
 
I'm with Herman on this that there is a certain human aspect in samples that isn't present in synthesized sounds. it brings a degree of authenticity to the overall sound because of that human element.

Its true that joe average will not notice or care if you use synthesizers and I fully agree....if you can achieve the correct emotion and support the picture rather than cloud it then it will work.

At the end of the day I guess its personal preference, and I guess its just how much your ears (as for mentioned) are used to the particular sound...for example you could use a sampled guitar but it loses most of its human quality and no amount of expression control could make a synthesized guitar sound good to me.

DaZ
 
and no amount of expression control could make a synthesized guitar sound good to me.
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What about someone like Jan Hammer? He was imitating the sound of an electric guitar, but played it (the synthesizer) in a very expressive way to make what I thought was terrific music. I mean, I didn't think it was a guitar, but it was guitar-like, and some fantastic playing.
 
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