afan
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@@C. Thunder Dash, *As delicately as possible* Never heard of the variations? Or so rarely heard scenic soundtracks from films, album at once? This is not a separate track, but a composition logically connected with old works as for one main project. If I wanted something really new, I would do it. But that was not the purpose of the work and the idea. Moreover, the guitar appeared there absolutely not by chance, but logically connected. So, I'm not against anything new, but not to the detriment of the already given meaning. Seems like that you do not understand the idea of this work, but perceive it as a self-sufficient song-track. Not as one of the soundtracks for one project. Not for rhis idea. Again. If I wanted something really new, I would do it. And this is easy to see by checking out my tracklist Actually, i was. Even did not achieve the desired result. Timps were not planned. Strings were not planned as whole leading at the outro part with guitars. Actually the guitar-outro plan was only the guitars, chimes, some synth and galloping back drums with main drums. And what do you think I did in this work as many older? -_- Here in Russia, i need to invest for money first. Given the economy difference - in not small numbers. So let us solve the problems in the order of the queue and available possibilities. There were many synths. And not only one of them was leading. Many of them were merged. But i guess you're talking about "Celestial Harmony" (a little vibe-like sounding) preset, also used earlier in "The First Sunrise" ending and some other works, mostly as back or support for idiophones like crotales, vibes and glock. It was also merged with some other supports. Gliding was not planned (and not appear as option on synth plugin which was used). Anyway. To get a little closer for idea what I was learn. - Hear again Defenders of the better world, and next Hans Zimmer's "Greed" (from 2:30 to 5:40 ). Next hear again "Sisters" and "Hammerhead" with second half part of "Broken Arrow" theme If you still didn't get it, well... Then I just don't know how to explain that you recommend some things, clearly without understanding how the idea is conceived and so, sometimes really against it.
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@@C. Thunder Dash, о_О?! If that - it was not planned at all (if I even wanted to, I would not have achieved such a sound). But if you about back galloping ending guitar - it's from "Power of Harmony" and "Defenders of the Beter World" and "Hard way to get the Cutiemark", on wich the work is based. They actually appears rarely. Mostly as back. Only on ending epic part ("Good Night" pattern) they are sounds strongly enough. On main epic part there is no brasses at all. Which toms? There are the main (from older tributes), soft (also from older), big drums and massive drums. Main galloping pattern is played on the main drums (acoustic bass drum) and it is the main rhyhtm picture. So I don't understand a bit what you are talking about. No. It's a composition work in dynamic action-scenical aspect. All motives are old (even intro and outro are the modified "concordia" theme, also playing on this track). It was chosen by design. There was no real reason to do it becouse of focuse on action of both together. The semantic separation was only by the some instruments but even then - not permanent I do not hear it. And while I do not feel the problem, I can not understand it. So I can not fix it. Actually stereo with full panning for every single drum. Didn't understand what do you mean. "Sawtooth lead"? The whole work already taken too much time with failing of the main essence of it. And I'm done with these motives with "Defenders of the better world" as most sucesful and "Power of harmony" as logical intro. The main reason of "reanimation" was the collaboration work with merging styles in scenical trasitions and hits. Unfortunately, for the co-pilot the work seemed too complicated and he gave up. After that, the work lost all sense, why it was abandoned for a while. Later, I completed the work in "come what may" mood. The secondary goal of the experiment (for me) was the continuation of learning Hans Zimmer style (as it was started on "Defenders") with combining orchesra, gutiars and electronics and also the theme patterns. And it was complete. Thanks for feedback anyway.
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Meanwhile, one more experimental long-term work is finally over. The track was not originally planned, as I finished with the motives of the "Concordia Project" more than two years ago. But it was appeared again as the basis of the experimental work, from what it was was promised to be abandoned when due to force majeure the main essence of the experiment was failed. But I decided to finish what was started. Whether it was worth it, it's not for me to judge.
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@@C. Thunder Dash: No. It was introduced deliberately, according to the idea. The are already much of basses including big hit. Just after the rising noise are no snares at all - only Wagner's concert (rising), chineese bass and big drum (with specific massive sound). P.S. Edit: Aw... Now got what exactly did you mean... The piano parts were written as secondary motive, which "main" for my part of work. Didn't actually planned at the beginning, but sound of low piano with electric bass was inspiring enough. From this, the orchestral idea was been started. Thanks anyway
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@@C. Thunder Dash: It's marcato strings. Others have no cutting (usual "sustain vibrato" sound) which make them lose actual legato. High back violins use sustain legato sound but also have no cut. I guess you need to specify which exactly and at what time, becouse i'm not hearing any problem of that. Actially, it's "chamber" piano with "concert deep" piano at low chords. Both physically modelled acoustic pianos from Pianoteq. No phaser was applied. Only small reverberation at low deep. Not clearly understand, what you mean From this it was necessary to begin in the alpha versions. Especially the "how to do it". Now I can only say "sorry". -_- Thanks
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First experimental collaboration work. Together with KennyDash: synth-electronic musician. Must to say - very positive experience.
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@@C. Thunder Dash I will be grateful. But for now is better to see base information (theory), and move to the details and practic questions during the work itself, little later (not every time I release two works in a row, especially during one week. Need some rest.)
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@@C. Thunder Dash Well, there was 49 track-voices already. More than half is a string section, (each one playng not more than 2 notes at once (better only one), but creating chord with unite play. As far, as i remember, many tries were attempted, including progressions. But at the end that strings begin to conflict, spoiling the instrument total sound.It was meny deletions and other decisions with no positive effect. The second reason why the project was abandoned. Anyway, some progressions already are in support violins and violas sections, but can't be heared all the time becouse of total sound (added as palette) and dynamics. Bright enough were only fast playing violins. Additional adding starts to mess with it and some others. Especially with marcatos. Some times i was just forced to delete some notes becouse of strange effect of "highlighting" not that notes and intruments what are needed. Actually, some reverb already was added. More of it makes it sound transparent, and seriously damage legato with hight-frequency sounds (casual problem when using reverb). Only amp, used before ending part, fixed it a little. What is also a good solution for the future, i guess. Thanks. It will not be superfluous The track's name was the other "epic" story. I just did not know what to call the result even and complete end of work. The work stared more than year ago - the fantasy kept stony silence all the time. Work name was given "experiment 03". The first idea, as i metioned above, to create some powerful, may be logical continue of "My Dragon is - Good!" - or "experiment 02", which is corresponds to the idea of my old text writing creativity. So the first name in blacknote was: "Dragon Within" (which current album was named, yes). After returning to work, there were several variants: "Flying dance with dragons", "dragon city", and double name: Midnight Dragons [While heroes sleep]". As you can guess, i was already to start associate it with dance (waltz, Karl!). When start to converting to sound, the label was given as [MD] - meaning Midnight Dragons. Final name variant was "Midnight Dragon City", which was not given at the end. So, yes, it's kind of party: young dragons going to club and getting acquainted with dragonesses, etc... Thanks. In any case, there I learned new capabilities, not just used already known. Epecially with electronics and complete string-based patterns. EDM is not my genre, and I never created remixes or other kind of dance music. Percussion could be, but seemed to be just extra fancy now plus messing with electronic sounds if used in the whole track. Usually, I'm starting to consider the track almost ready when elementary start to forget that I wanted to add. And finally, when starting to delete some added (so the percussion was). So, when I understand, that have completely no idea, what can be done next, the track starting to finalize. Thank you. The progressions part is actualy very good new knowlege for me, so, I think, in the future will be special experiment with it and some other tricks, especially completely new or specialised for instruments. So, I'm always glad to see new info
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And new has been released Actually, it was an experiment, abandoned about year ago as failed. It was the strings-specialised experiment to make something powerful. But the work was promise to be some kind of waltz. >_< Disappointment was great enough to abandon almost completed project (only end part was remained) and forget... till now. Apparently, the old ideas was subsided and fogotten, so I was able to continue with "come what may" mood. Eventually, the second experiment was happend above the old work. With electronics. I guess, it would be a remix, if was not original, heh... So it is double experiment, which first is failed, by the author's opinion. So, listen at your own risk
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It's techincal problem mostly. It's not real string-based piano, only synth (bright solo) or emulator (other 3 "hands"), and not living play. All sound dynamics were placed according to my ears. Actually, it's strange that you didn't noticed it, including ghost notes at very high, and soft notes at very low. Especially in the ending part and interlude 1. Well, may be yes, may be not. But here was mixed. And projected so, that's for sure. And remember, that I'm using not only instruments but their sounds as palette. 2. If it was have to be, then it would be. I was need a specific strong and bright piano sound, especially on arp at the first half of track. Becouse of global effect first, becouse high frequency of sound the second. In other kind of tracks - of course. Especially only for piano and for living play It was complicated problem. So i've begun to hate the music itself. Only 7 years later the things were radically changed. I know. That was the reason of why I had about 5 variants (now 6) of my very first track after first two years of work. And why I'm not against to remixes or other kind of reworks
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@C. Thunder Dash, thanks for feedback. Not fully understand: stale? As it should. Actually, it plays in 4 hands in 3 different pianos, disguised as one. And piano is the mostly dominant instrument in the project. We have different kind of associations, i guess.The name was coined after the melody was been written. But not here. I needed a characteristic at low tones: clear and loud, not muted and soft. Of course, in the dynamics, piano kind were placed in calm as forte in places of strengthen. Already did. Softer the violins solo makes them compleley unheared ghosts (which was not planned). Softer the cellos destroys the global summary effects. Softer the violas destroys the global summary effects. Harder reverberation makes strings sound not bright enough and forces them to be louder as a result, and oversamples with pianos. Actually, strings could be softer, but then they could not be heard in subwoofers - only on simple headphones. Snares part had the same story. Yes, becouse of sound heared. And emotions of sound felt. It was a melody from a dream, written "as is" as it was only possible. Not first time, actually Thanks. Actually, piano is not my main instrument for use (and I was forced to play on it from early childhood, till I started to hate it). As the melody type at all. So it can be called experimental. Or "copying" from my mind after sleeping
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Dear Princess Luna, thanks for the inspiration sent down in to my dreams! P.S. Almost completely orchestral. And almost ambient.
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The arrangements of the "Princess Platinum" ballad for a capella group "PonyBand". As a result, in addition to the covers, there are two versions have created: "tavern" and "full instrumental". I guess, now is left to wait for the version with the "ponyband" voices. Their voices will be in russian, but someone want to sing, there are English interlinear lyrics too. Score sheet with lyrics: https://musescore.com/user/4859756/scores/1266906
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@C. Thunder Dash, thanks. May be. It was a long "casting" for pre-final solo, where finally kids choir won with backing violins section
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A time ago, someone wanted to fragment "Come Little Chilfren", used in the "Hard way to get the cutiemark" composition, has turned into a full track mix in the same style. Well, my hooves finally made it.
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Yeah. I could. But it did not sound as it should.So this minimalism - is forced. Not the first time I was confronted with the fact that not all the diversity is in harmony with the overall sound. As not every fantasy. :-\ Strange. To my ears, so they are almost on the verge of overlapping the accompaniment. Especially when switching between audio quality and sound modes. Anyway, I will try to take into account in future tribute of the main theme. Thanks.
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A little remake for track from the older fandom.
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Another new track
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@pinkiepiebabe, just trying my best and to developing skills. Sometimes, making something that people liking Anyway, glad that you liked, thanks for feedback
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@@pinkiepiebabe, thanks. Balance... yeah, still have a problems with it, I know.
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And I'm studied classical choral chapel and what? Actually not all instruments have the EXACTLY same melody in certain octaves. And they actually using the effects of frequency overlap and resonance in order to create a sound palette. The other instruments using much different melodies and transition enough to create perception of chaotic effects without emphasizing the main. Or you need actual score material to see that? And even if it would be so - I work outside the usual standards and templates. Like , him, or them, , and finally .All of them are the score bands and composers and even the whole orchestras, as you can see. if still don't believe that, ok. Here almost 50 instrument voices were used. About 10-15 of them are the guitars. Overwhelming majority have completely different scores. Or here - almost completely guitars. 2009 year work (and final rework from ages of inifnite reworkings). Also each have completely different scores. So, may be in classic it's a "big no-no", but i never said that i prefer the classic terms. At least not alsways and anywhere. But it really soesn't mean that I can't do it for some other reasons, except as part of the idea.
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Rules of what scoring? The real soundtracks or score-albums for separate release? Score can have any instrument and any style you want to make the atmosphere. And sometimes the music is not just something playing in the background - there is ambiences for it. And trailer music, transitions and openings - vivid examples for it. What exactly brasses? Some of them are background. Or about piccolo? Okay, that solo have the pauses sometimes, so I don't uderstand what exactly you mean. Yes. Becouse this work is about drums. Melody was an optional. Anyway the other musicians already said that tonic used perfectly for short varying melody. So i can only say that is the matter of taste. Really. My opinion is more simple: I've created what I've created. It could be better, but also could be worse. So I'm moving forward. The times of 10-times-reworkings are gone. May be some day in the future. Especially, if I will use the motive on next scoring workings. Especially if the works will be on tracks longer than three minutes. So I saved the idea anyway, thanks Ok. Now it is really matter of taste.
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Second experimental track, based on learning of drums. Actually not specially tribute, but... pony world also have the kind dragons Anyway, here the two variations: drums action and full instrumental (yeah, in the best traditions of Epic Score or X-Ray Dog producing). Full instrumenal - underscoring music (opening, introducing, transitions or traliler music) Drums Action - actual action music. -drums-action
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Ammm... It's not a bug, it a feature ©, actually... I did not plan to make guitars too loud and expressive here as other people usually do. Especially solos (which are actually also playing chords (power and\or full) in some parts). They are - ordinary instruments, like everything else, icluding brasses and the others. Not always leading. But only sometimes. It's orchestral and instrumental music. Beyond the typical categories and performance of electric guitars and enything else (Did you noticed that there is distorted piano? it was used earlier too. As well as amped and overdriven string.) Already tried it. Then it was too bright and loud and consequently forced to be very quiet while mixing. Becouse it was drowned out other sounds, especially brasses on theese octaves. It already has. 2 backing solos: one on high, and second on low. All the guitars have own solo parts actually. But in intro they are only the bacground or secondary. Becouse it's not the gutars leading part, but the trumpets, fanfares and french horns (+ piccolo as the end of intro). In this track, there are no complete guitars leading parts at all. Intro consists of dinamic chords where (in beginnig of phrases) С (fanfare phrases + background lower solo) and D (background) notes are playing both. Chords on any guitar making dissonance to non-melodic. Especially bright guitars. Spent two days and used every known power and other chords in order to avoid it but with very small result. So i've used own fantasy. Thanks for feedback and especially for help
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Tribute-march request, based on Parasprites Polka and one the older tributes. Two versions: full instrumental and for military brass orchestra (yup, seriously...) -brass-orchestra-version
