So happy that you gave me the honour to help you with this project! it was a lot of fun to work with you on this, and it was actually quite a learning process because it was my first fully orchestral project I've ever worked on. Mastering notes: From what I can recall from my calls with Aceplayer, there were quite a few elements out of time. but we managed to get them all sorted out. for the Master chain I originally used just Fabfilter Pro-R and FabFilter Pro L-2, but after experimenting with Ozone 9 Elements and finding that it enhanced the stereo field quite a bit (to the point where, in headphones it sounded like you were right there, and a whole orchestra was playing the piece might I add), I switched the mastering chain to something a little bit more heafty. with Ozone 9 Elements, FabFilter Pro-R, FabFilter Pro L-2, and Youlean Loudness Metre for analysis. this was a lot of fun to work on but I must say that stems did sound really rough at the start. you're used to hearing orchestras with a bunch of natural reverb from the stage/area that they are playing in. every single area has reverb and without it things sound dry and out of place. so mimicing that area was also top priority to make it sound authentic. Movements 1 and 2 were the hardest to work on as those were the first ones that we started to work together on (we worked on them sequentially). And as I had never worked on a full orchestral arrangement before, I knew that it would be a challenge but I was totally up for it as it would be a huge learning experience for me. I've tinkered around with my own orchestral covers before (like the covers I've done for Aceplayer in the past like Skycity and my personal favourite, Lift Off) but in those I was able to integrate my own style into them. Movement 1: as far as movement 1's edits go, the elements that needed the most work before the final, was the Brass section. namely, the trumpets. we had to make 13 cuts to the Trumpets to compensate for Gain loss and make them loud enough to be audible. Movement 2: Movement 2 did not need as much work but still needed work. namely the timing of the Winds as well as the gain. (correct me if I'm wrong here) I believe it took atleast 2 calls to get the second movement to completion Movement 3: the most work we had to do on movement 3 was a few re-renders and getting that damn celesta at 22:19 in time. Movement 4: I believe this was the movement were we found out how to get the pauses into the renders. I don't know how he did it but Aceplayer managed to find a way to get noteperformer to render the silences that he originally added in the musescore files, which it originally did not render. it took a few tries but that also fixed the timing issues but not the gain balancing issues. we did quite a bit of work on the woodwinds to make them loud enough but also balanced out with the rest of the piece. Movement 5: Imma be honest, in movement 5 the most we had to do was to the woodwinds, and the Brass section. mostly gain balancing. As far as I can recall, movements 4 and 5 required some re-renders on Aceplayer's side of things. but as you can tell we managed to fix it. for the ending of movement 5, Aceplayer wanted it to be that loud and Im surprised that I managed to pull it off without killing our ears. All in all this was an amazing project to work on, and I can't wait to work with Aceplayer again! He's an incredibly talented writer and I can see huge things coming for him
Bravo! What beautiful piece of music! I enjoyed the 3rd movement, and I really liked the brass entrances throughout the piece. The choir during movement V was heavenly! Congratulations on such a fantastic score!
Man how is it possible that a masterpiece like this has so few views 😭 I fell in love with your composition (and your other works too)! This is exactly how I want to compose one day... It is truly one of the best pieces I've ever heard and I thank you for this musical experience 🎉 I really hope this will be played by a real orchestra once (I'm buying a ticket right away ✨)
Alright, it seems, that there're some issues with Musescore, so, I'll paste my comment here. Dear Aceplayer, Thank you for this work! You're an awesome orchestrator. You have a huge ability in creating big modern orchestral compositions in that style of John Williams and so on. The composition itself is very expressive, and it's well seen, how much work have you put into it. I was going to complain about its transparency, by which I was going to mean its undirected, fluid going by, BUT: a) this is a fantasie, so, this is a necessary atribute of it, and it fits the whole architecture of the piece really well; b) you demonstrate your capacity of writing well-structured scherzo with directive melodic line in the 3-rd movement, so, hands up, I'm beaten and don't argue :-) . Still there's a pair of moments to discuss -- I don't disagree with them, but ask to think about them once again: maybe, you've already chosen the best solution, but maybe there're another opportunities to consider. Here they are: 1) m.170 -- this entrance of brass seems OK, but jumps out from the previously heard a little bit unexpectedly; 2) I believe, the secion from m.262 is for strings tutti, not soli; if so, I'd doubt about m.299 -- flaggioletti in 2-nd violins tutti in fast tempo may be difficult to play well in real orchestra; if you really wish to use flaggioletti here, I'd recommend to give them to the 1-st violin soloist, although this may cause a problem to be played against the tutti parts in m.298 and 300; another possible solution would be to give all this part from m. 298 to m. 303 to solo instruments; 3) m. 351 and further doesn't sound for me like Tempo I, it sounds faster, which creates an excessively rushed feeling. Is it just an error with playback? Or maybe just my bad, I may be mistaken, obviously. 4) m. 400 -- Contrafagotto is a very heavy instrument, that needs a lot of air to be played, which usually makes its parts not very flexible. I'm not especialist, so, I'll just ask, if the player would be able to perform fluently this fast solo passage. Maybe, he would; 5) m. 547 -- I'd try to use Clarinetto instead of Oboe -- just to try, if this would be better or not; 6) you probably know better, but is it convenient to change the timpani's pitch right during the performance, like you advice in m. 695 and further? Just interested, how much time and effort does it require? I have always imagined, that they are tuned before the performance with camertone or smth like this, but I may be profoundly mistaken. That's all from me. A really miserable quantity of notes for such a big composition, but sorry, I was too concentrated in enjoying the music to write down something else. :-)) Again, your orchestration is very brave, it freely uses all the spectres of the orchestra, and they are very well combined. Your style reminds me the one by John Williams, to be honest. I'd especially like to thank you for the wise use of percussion: it isn't excessively cautious, but at the same time it isn't excessive -- it's a really good sign for me, that it's done right as necessary -- and with a big creativity. Please, keep going! I encourage you to continue learning and developing your skills -- and not only in these epic huge orchestral works, but in other genres too. All the best wishes to you and your family in the New Year! Sincerely yours, Ivan P
Thank you so much for your thoughts Ivan it's greatly appreciated! Let me reply to all the points M. 170 was intended to be a stark contrast with the horns but I can see how it would sound a bit too startled and unexpected. Measures 262 to 302 are all solo strings. I wanted to explore the sound of a single instrument rather than the whole section, so 299 may seem a bit more reasonable M 351 was a playback error. Unfortunately I couldn't fix it and decided to keep it as it was. Quite fast. It was intended to be slower like the start of the movement M. 400 I'm actually not sure! Thank you for pointing out I hadnt thought of that. I will definitely ask a contrabasoon player for advice on that bar. M. 547 i used the oboe to give a sense of reminiscence from the start as it was also used but a clarinet would most definitely work! I think the variety would be good too. I showed a timpanist the part and they said it was doable with some pitch shifts sounding out which I don't really mind in the performance at all. Timpani can tune quite quickly midpiece given a decent player is behind the drums Thank you again Ivan for the kind comment it is greatly appreciated! Have a happy new years
That was a very enjoyable hour of music. I can definitely hear the Mahler influence, though this is still decidedly in your style. The soundfont is nice, is it noteperformer?
Thanks so so much john, really appreciate it :) Yep it's noteperformer. Decided to upload it for new year's. I'm sorry you couldn't do anything with east west. Saved your time at least haha Glad you enjoyed it! Any particularly favourite moments?
Happy new years!
Hope you enjoy it
tysm Spock ^^
So happy that you gave me the honour to help you with this project! it was a lot of fun to work with you on this, and it was actually quite a learning process because it was my first fully orchestral project I've ever worked on.
Mastering notes:
From what I can recall from my calls with Aceplayer, there were quite a few elements out of time. but we managed to get them all sorted out. for the Master chain I originally used just Fabfilter Pro-R and FabFilter Pro L-2, but after experimenting with Ozone 9 Elements and finding that it enhanced the stereo field quite a bit (to the point where, in headphones it sounded like you were right there, and a whole orchestra was playing the piece might I add), I switched the mastering chain to something a little bit more heafty. with Ozone 9 Elements, FabFilter Pro-R, FabFilter Pro L-2, and Youlean Loudness Metre for analysis.
this was a lot of fun to work on but I must say that stems did sound really rough at the start. you're used to hearing orchestras with a bunch of natural reverb from the stage/area that they are playing in. every single area has reverb and without it things sound dry and out of place. so mimicing that area was also top priority to make it sound authentic.
Movements 1 and 2 were the hardest to work on as those were the first ones that we started to work together on (we worked on them sequentially). And as I had never worked on a full orchestral arrangement before, I knew that it would be a challenge but I was totally up for it as it would be a huge learning experience for me. I've tinkered around with my own orchestral covers before (like the covers I've done for Aceplayer in the past like Skycity and my personal favourite, Lift Off) but in those I was able to integrate my own style into them.
Movement 1: as far as movement 1's edits go, the elements that needed the most work before the final, was the Brass section. namely, the trumpets. we had to make 13 cuts to the Trumpets to compensate for Gain loss and make them loud enough to be audible.
Movement 2: Movement 2 did not need as much work but still needed work. namely the timing of the Winds as well as the gain. (correct me if I'm wrong here) I believe it took atleast 2 calls to get the second movement to completion
Movement 3: the most work we had to do on movement 3 was a few re-renders and getting that damn celesta at 22:19 in time.
Movement 4: I believe this was the movement were we found out how to get the pauses into the renders. I don't know how he did it but Aceplayer managed to find a way to get noteperformer to render the silences that he originally added in the musescore files, which it originally did not render. it took a few tries but that also fixed the timing issues but not the gain balancing issues. we did quite a bit of work on the woodwinds to make them loud enough but also balanced out with the rest of the piece.
Movement 5: Imma be honest, in movement 5 the most we had to do was to the woodwinds, and the Brass section. mostly gain balancing.
As far as I can recall, movements 4 and 5 required some re-renders on Aceplayer's side of things. but as you can tell we managed to fix it. for the ending of movement 5, Aceplayer wanted it to be that loud and Im surprised that I managed to pull it off without killing our ears.
All in all this was an amazing project to work on, and I can't wait to work with Aceplayer again! He's an incredibly talented writer and I can see huge things coming for him
This project will always hold a special place in my heart. it's such an emotional, and honestly fascinating journey to partake in listening to this.
Bravo! What beautiful piece of music! I enjoyed the 3rd movement, and I really liked the brass entrances throughout the piece. The choir during movement V was heavenly! Congratulations on such a fantastic score!
This is glorious indeed. I love the first movement a lot.
glorious indeed!!
Man how is it possible that a masterpiece like this has so few views 😭 I fell in love with your composition (and your other works too)! This is exactly how I want to compose one day... It is truly one of the best pieces I've ever heard and I thank you for this musical experience 🎉 I really hope this will be played by a real orchestra once (I'm buying a ticket right away ✨)
Awesome job!!!!! Keep up the good work!
Alright, it seems, that there're some issues with Musescore, so, I'll paste my comment here.
Dear Aceplayer,
Thank you for this work! You're an awesome orchestrator. You have a huge ability in creating big modern orchestral compositions in that style of John Williams and so on. The composition itself is very expressive, and it's well seen, how much work have you put into it. I was going to complain about its transparency, by which I was going to mean its undirected, fluid going by, BUT: a) this is a fantasie, so, this is a necessary atribute of it, and it fits the whole architecture of the piece really well; b) you demonstrate your capacity of writing well-structured scherzo with directive melodic line in the 3-rd movement, so, hands up, I'm beaten and don't argue :-) .
Still there's a pair of moments to discuss -- I don't disagree with them, but ask to think about them once again: maybe, you've already chosen the best solution, but maybe there're another opportunities to consider. Here they are:
1) m.170 -- this entrance of brass seems OK, but jumps out from the previously heard a little bit unexpectedly;
2) I believe, the secion from m.262 is for strings tutti, not soli; if so, I'd doubt about m.299 -- flaggioletti in 2-nd violins tutti in fast tempo may be difficult to play well in real orchestra; if you really wish to use flaggioletti here, I'd recommend to give them to the 1-st violin soloist, although this may cause a problem to be played against the tutti parts in m.298 and 300; another possible solution would be to give all this part from m. 298 to m. 303 to solo instruments;
3) m. 351 and further doesn't sound for me like Tempo I, it sounds faster, which creates an excessively rushed feeling. Is it just an error with playback? Or maybe just my bad, I may be mistaken, obviously.
4) m. 400 -- Contrafagotto is a very heavy instrument, that needs a lot of air to be played, which usually makes its parts not very flexible. I'm not especialist, so, I'll just ask, if the player would be able to perform fluently this fast solo passage. Maybe, he would;
5) m. 547 -- I'd try to use Clarinetto instead of Oboe -- just to try, if this would be better or not;
6) you probably know better, but is it convenient to change the timpani's pitch right during the performance, like you advice in m. 695 and further? Just interested, how much time and effort does it require? I have always imagined, that they are tuned before the performance with camertone or smth like this, but I may be profoundly mistaken.
That's all from me. A really miserable quantity of notes for such a big composition, but sorry, I was too concentrated in enjoying the music to write down something else. :-))
Again, your orchestration is very brave, it freely uses all the spectres of the orchestra, and they are very well combined. Your style reminds me the one by John Williams, to be honest. I'd especially like to thank you for the wise use of percussion: it isn't excessively cautious, but at the same time it isn't excessive -- it's a really good sign for me, that it's done right as necessary -- and with a big creativity.
Please, keep going! I encourage you to continue learning and developing your skills -- and not only in these epic huge orchestral works, but in other genres too. All the best wishes to you and your family in the New Year!
Sincerely yours,
Ivan P
Thank you so much for your thoughts Ivan it's greatly appreciated!
Let me reply to all the points
M. 170 was intended to be a stark contrast with the horns but I can see how it would sound a bit too startled and unexpected.
Measures 262 to 302 are all solo strings. I wanted to explore the sound of a single instrument rather than the whole section, so 299 may seem a bit more reasonable
M 351 was a playback error. Unfortunately I couldn't fix it and decided to keep it as it was. Quite fast. It was intended to be slower like the start of the movement
M. 400 I'm actually not sure! Thank you for pointing out I hadnt thought of that. I will definitely ask a contrabasoon player for advice on that bar.
M. 547 i used the oboe to give a sense of reminiscence from the start as it was also used but a clarinet would most definitely work! I think the variety would be good too.
I showed a timpanist the part and they said it was doable with some pitch shifts sounding out which I don't really mind in the performance at all. Timpani can tune quite quickly midpiece given a decent player is behind the drums
Thank you again Ivan for the kind comment it is greatly appreciated! Have a happy new years
That was a very enjoyable hour of music. I can definitely hear the Mahler influence, though this is still decidedly in your style. The soundfont is nice, is it noteperformer?
Thanks so so much john, really appreciate it :)
Yep it's noteperformer. Decided to upload it for new year's. I'm sorry you couldn't do anything with east west. Saved your time at least haha
Glad you enjoyed it! Any particularly favourite moments?
@@aceplayerMusic there's a lot of good moments, a few come to mind from each movement... 1:31, 10:55, 22:11, 29:02, The finale,
@@aceplayerMusic I did actually start making a version of this with Eastwest, I ran out of time though