Six Part Orchestral Suite // BBCSO PRO demo
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- เผยแพร่เมื่อ 6 มิ.ย. 2024
- Hi there, for my 6-part Orchestral Suite I primarily used Spitfire Audio BBCSO Pro instruments. Some parts do get a little push from the SA Hans Zimmer Percussion library.
On all instruments I used the BBCSO Pro build-in Jake Jackson 'Mix 1' mic setting, with about 25% of the build-in reverb. When mixing this Suite I used another 50% Cubase send signal of FabFilter's full mix 'Vanilla Hall' reverb, on just the tonal groups and about 50% Cubase send signal of FabFilter's full mix 'Rich Chamber' reverb on the percussion groups.
I recommend using some good speakers or headphones to get a fine stereo experience.
0:00 - 1. Introduction
1:37 - 2. Waltzing March
2:28 - 3. Galloping along
3:31 - 4. Danger on the track
4:11 - 5. Arrival!
5:12 - 6. Reflection
Few words on realistic mockups: in my experience it's all about the concept of tweaking the hell out of your sample library. That means spending loads of time automating and tweaking every necessary envelope, untill a musical phrase, track and section matches a desired result. It also helps using a favorite orchestral reference sound to match yours with. I already use this when setting up my template, balancing mics and adding inserts and sends, because I find it very inspiring to start out with a beautiful orchestral sound.
Apart from that it's simply also about learning to orchestrate, making orchestral events sound logical and natural in the first place. I learned a lot by creating orchestral arrangements using piano sketches from Scottish traditionals.
Be well,
Jeff Hijlkema
#oneorchestra
#spitfireaudio #bbcso - เพลง
Amazing work! The piece resembles John Powell’s style in a good way, I’m glad I found a new awesome channel.
Definitely one of the best sounding music created with BBCSO, great demonstration, absolutely love it !
Thanks for your encouraging reaction!
Gorgeous music!!! Epic. And this is the best demo of the BBC Spitfire Audio Orchestra.
I second that///this is a great demo. If I had any doubts about getting it before, they're gone now...but I hate knowing there are bugs and issues...LOL but I think that they will address them since this is the direction they're moving towards.
@@jaketanner109 I indeed experienced BBCSO needs a lot of tweaking/programming to give the instrument parts the realistic feel or vibe I was looking for.
It is not a flawless library yet but it might sure be in the future. It's just an enormous lot of data to control in there. I doubt if BBCSO ever will be their flagship though. Hope to encounter your compositions with BBCSO also ;-)
@@jeffhijlkema would you say the end result is worth the effort, or do you think you could have achieved the same results with various libraries? To me, it sounds homogenous...which is what makes the score seem more "real"...to me at least. of course orchestration is key...Do you also feel that mixing the different instruments came easier because it was all the same room...or just as hard as if they weren't?
Good question Jake. Mixing I see as the 'make up phase' in music. It sure can help to create cohesion, specially at the reverb department.
In all my other works on this channel I used various libraries together, so you'll be the judge of experiencing enough cohesion in there? ;-).
What libraries do you work with now? Are you looking for that 100% pure orchestral sound or more cinematic/epic/trailer atmosphere?
@@jeffhijlkema I have tons of libraries. Cinesamples, Spitfire, CSS/CSSS, 8Dio, Performance Samples, VSl.etc.etc...LOL I don't do much epic at all...a few here and there just as part of a demo reel I am putting together. I like doing full orchestral pieces/cinematic and hybrid of sorts. So realism is indeed important for me. While many have argued that having the best library from each developer will sound more realistic than buying into one developer's library (BBCSO) let's say. But I Strongs believe that what I hear as the cohesion=believability (providing the orchestration and balance are there), comes from everyone being in one space. Same overall tone...bright, dark, mellow...etc. It's believable to me that it was recorded all at the same time. Using multiple developer's libraries you would need to EQ them more to fit into place...unless they are relatively close.
One cannot tell the difference anymore. This sounds stellar! Spitfire should be paying you for convincing so many of us who stumbled on this. Bravo!
Thanks again rastAsia. Glad you enjoyed it! BBCSO Pro is such an inspiring and amazing lib to work with. As you might experienced yourself, this still needed a lot of programming and mixing before all sounded to my realism taste. But you know that's just a matter of putting time in it. Be well, Jeff
It sounds great, but you can tell the difference if you know what to listen for. For me the tell-tale sign is the swell on every note in string legato. Real players don't have these dynamic fluctuations on every note in legato, but spitfire (and many other) libraries bake in a swell. At this tempo it's not so noticeable, but it punishes you at some (faster) tempi.
This piece was suggested in a discussion on Vi Control... so happy I clicked on the link. Incredible work! Thanks for posting :D
Thanks man, for your kind, encouraging reaction and subscribing!
This is such a beauty.
I appreciate you for sharing this
Amazing sound, it was a pleasure to hear your composition ✨
This sounds absolutely amazing - well done!
Tenx Mat!
Beautiful work. Really impressive!
This sounds fantastic! Great job!
This is simply great! One can definitely hear, that you put a lot of effort not only in the composition but also the programming of this suite!
Thank you Tiver, nice you notice the effort. In the beginning I really experienced this BBCSO plug-in like dissapointing, being very difficult to drive. But I didn't give up ;-)
This is so, so beautiful. Thanks.
This is a beautiful piece of music! Well done!
Thanks so much for your nice words ArthurLee. Glad you enjoyed it. Gr. Jeff
I think this is by far the best BBCSO piece I've heard. Stunning work and thanks for sharing it.
Wow thanks Andy, I appreciate your reaction. You might like it's succesor also; TUTTI ;-)
Wow! Rich and colorful! The different rhythms are linked together very well and show the versatility of BBCSO! Mix 1 sounds suprisingly good for all the styles of your suite! Well done!
Thanks for listening and your kind comment Philippe. Lot of time went into the mixing afterwards also.
This is awesome. Great work!!!
Wow. Simply wow!
Aside from being a wonderful piece, it is beautifully programmed! It really shows off the library at its best.
Thanks Peter. Glad you notice. Programming took most of the time, way more than composing and mixing.
I am hard pressed to hear the anomalies that usually give a digital sample orchestra away. And the music itself is absolutely gorgeous. Masterful work on composition, and masterful work on programming!
Thanks for your nice reaction Jim! Your answer might illustrate that I feel hard pressed also to prove the orchestra really can be 'under your fingertips'. Stay tuned, while another BBCSO Pro Suite is simmering in the mancave, absorbing the new update.
Beautiful song!!
Excellent !
Great idea to explain in the description how you achieved this. It sounds like a true work on automation, the result is very natural, specially on brass section, which could be difficult to take realistic in my opinion.
Thank you for this musical moment, and happy new year !
Hello Bastien. Thanks for listening and reacting. Glad you found it realistic. And all the best for 2021 for you also. Let's create the finest music!
It's tempting to make an in-depth video on this one, but I'll do that with my next BBCSO demo, that's in the making... So for now indeed just some practical words in the description. Although in my other video's you'll see some more insight on things. Like in the Zealot Travelogue Suite. Greetings!
Heel erg knap gedaan en inspirerend. Ik heb ervan genoten!
Beautiful work. Well done !!!
Thanks very much Marco!
Wow, this is impressive! I have BBSCO Core and I have been thinking about giving up on it. I always max out the built-in reverbs because I almost hear nothing out of this library. It's funny because I started my journey with Spitfire Originals instruments. I got the free BBCSO version and that too sounded better in recent memory. But the upgrade was a bit of a disappointment. I am glad people like you can make this library sound wonderful.
Thanks, glad it inspires you to dive into bbcso core again. It just needs time and effort to get the music out of it, just like a real instrument. I use a serious amount of time mixing the stuff, to give it some depth and space. This suite can be played by Core also while I use just mic mix 1. Have fun!
Hey this compositions it beatiful, thanks again, best regards,
Beautiful
masterclass , great work
Thanks Ziad! 👊
Great piece!
2:59 gives me Soul Caliber 2 vibes! Love it!
Amazing work! Would love to see a screencast as the project plays in Cubase! Thanks for posting!
Thanks Zahari! I might do that, making a screencast video. Nice project. Let's see if it is wanted more...
Hell , that was great !!!! Well done Jeff
Hell Tenx Ingo! Good to know you liked it. So nice that you took the time to listen and react. Be well, Jeff
Great sounding mockup man! You have my attention and I will be on the look out for more blogs.
Thanks for your nice reaction Martijn. Hope to post some work again soon...
@@jeffhijlkema Just out of curiosity: are you based in the UK/US or the Netherlands?
@@martijnvanbeek4387 The Netherlands, Zwolle.
Honestly incredibly stunning. The orchestration and instrumentation is so colourful, I love it. As my only criticism I would say the parts with the staccato strings feel underscored and a bit empty, but that might just be me. Keep going, this is awesome!
Some nice music here!
WOW so good!!!
Thanks Scott, that's nice. Maybe try my second one 'Tutti' . A bit different, but orchestra full on ;-). Be well, Jeff
Love it! I'm sold, lol.
Awesome, great music
Thanks Alan! Glad it resonates with you. BBCSO Pro is so inspiring to work with.
Yes spitfire sounds are great it is amazing to have this tools to make music as we want. Thanks
Wow!
Hey John, thanks!
This is absolutely stunning work!
Also, how long did it take you to get this put together, start to finish?
@@swartzta Thanks Troy. Glad you liked it. Let's see; composing - tweaking every instrument - rendering all instrument tracks for mixing - mixing - little mastering...
A month all together.
@@jeffhijlkema really great work! I listened to your other tracks on SoundCloud. They are excellent as well!
@@swartzta Very kind of you, thanks! You're doing a fine job yourself also I heard ;-)
Do you participate in the WestWorld scoring competition also? My submission will be on this channel in a few days. See ya!
@@jeffhijlkema nah. That would take me a year! Good luck!!!
Definitely my favourite BBCSO creation.
Was curious if you could do a BBCSO Core demo?
Thanks for listening and your nice words Andrew. Don't have the Core version myself but am using BBCSO Pro. Let's see if I can use/adapt Pro as if it is Core?
bravo
This is amazing work!! Please share the midi file! I would love to use this to test out my recently purchased sample libraries!! Thanks!! Keep up the great work!
@JLFComposer: Thanks man, for listening and reacting, that's nice! Unfortunately, I can not share the whole midi file. But, just choose one of the six parts of this Suite and I'll post a WeTransfer link to the midi file, at this spot. Be well, Jeff
Awesome work! I'd be very interested to see the MIDI for this :)
@@jeffhijlkema Thank you!
Great!
Jeff, I have a question. When you wrote this song, did you make music first using music programs like Sibelius and then work on the midi? Or did you compose it right away from daw?
Right away from DAW. In the past I used to work in Finale all the time but by now I'm taking that knowledge with me working in Cubase only. I do check the score function over there during the proces, just to see if the parts look logical, attractive and fun enough to play for musicians. Hope this answers you question.
@@jeffhijlkema I understand what direction you worked. While composing, if there is any blockage, we can check it out with a music program. Thank you. It was helpful.
Jeff, I keep coming back to this track so I can hear what BBC SO pro *can* sound like. This is so well done. My biggest struggle with BBC is with the strings. Getting the right phrasing and the right amount of reverb for me seems daunting. I find that the onboard Reverb with a strings makes the strings sound synthy so I tend to use hardly any but then it sounds like it's in a room with carpet. I will have to try using only 25% of the onboard Reverb and then adding some external Reverb effects. I would appreciate any other tips you have and thank you so much for explaining your template setup.
Hi Marc, thanks again for your reaction and visiting my piece! Concerning those string reverb: back then I did use only 25% on board, and some FabFilter Vanilla Hall full wet mix, -12db in Cubase. Another tip would be to put an EQ in front of the reverb, to roll off all below 75Hz, to make the reverb more bright. And by shaping the tone of the strings, with inserts, it might affect it's behaviour in the reverb. These days I don't use the bbcso pro onboard reverb, my reverb chain now most of the times is 1. 7th Heaven scoring stage -12db 2.FabFilter Vanilla Hall -14db. I have to admit I'm kind of a sucker for reverb. Concerning the phrasing; it's really about tweaking the hell out of those samples, automating #CC's, shuffle with the midi events, just to get it right, it's a time thing. I'm a string player myself, in that way it helps me phrasing the stuff. I hope this somehow answers your questions a bit. Be well, Jeff
@@jeffhijlkema thanks for the additional tips. I have a better time with tweaking midi controllers, legato velocities etc (but for me this takes so much time) than I do with reverb, but I think a lot of this comes with experience. Probably with practice there is less guessing and trial and error. I don't have your specific reverbs but I have some others and will have to experiment. Your videos are the gold standard and I appreciate again the additional tips.
@@marccaroul4123 It's like Hans Zimmer stated; 90% of the time is spend tweaking, to make it sound realistic.
I learned a lot recreating references from both recordings and scores, like the 16 bars intro from a woodwind septet by Mozart, and the Billy the kid suite opening by Copland. Both results are to be found on my channel. I mean tweaking your own stuff is less difficult 😉.
I'm actually working on the Barber string adagio right now, fully recreating it (articulation and ambience), to get some more experience creating realistic sounding orchestral strings. And I'm sure you know; it's all in the detail. Make sure the start of your phrases, or samples so to speak, are realistic, to immediate convince and grab the listener. Most often starts are just a bit too harsch with samples I think.
Bravo! I'm really impressed. the first and second parts practically made me cry, although I'm not a very sentimental man! I listened at night on akg 271, during the day I will listen on adam a8x
Good audio equipment sure does its thing, so it seems. Thanks for sharing your experience!... The music, doing it's best to be there and mean something concrete ;-)
@@jeffhijlkema I dream of buying this library, but for Russia 1000 dollars is a lot. average salary 300.But someday I will do it and my music and sound will be as great as yours)))
@@jeffhijlkema on adams it also sounds great, clean sound without heavy compression, everything is transparent, dense and readable ... at the beginning you want the sound of a parterre and a concert pit for complete authenticity)))
@@user-ih3qx1nq4h Nice dreams though. BBCSO sure is inspiring, it did invite me to write more orchestral idiomatic, diving into the Samuel Adler book again ;-).
But, maybe you can start with BBCSO core, sharing the license with somebody (it comes with two licenses). Then it is ' just' 225 each. Upgrade anytime. What libraries do you use at the moment?
@@user-ih3qx1nq4h Sure, transparency was the big challenge when mixing this full orchestral driven Suite. Not crushing it too much with mastering Just -2db comp 2:1 and going easy on the limiter (I use Fabfilter EQ, Comp and Lim.). And I really love mixing, that makes it easy to spend some serious time on it. Be well mate and hope you'll share your music; I'll sure give you my feedback if you want.
I think BBCSO and Sakari Oramo should perform this
Wow yeah, that would be something. And then let people do a blind test. Would you pass it? ;-)
Great
Thanks, for stopping by also!
Sweetola!
This is an incredibly good work! The mix is also perfect. Which microphone mix did you use?
Thanks Michael! On this one I only used the build-in Mix 1 mic preset. Which, as you might know, is a realistic Jake Jackson blend of several available mics.
I want to say... you have used this plugin's sound to the max... It even sounds better than their demo IMHO. Great Job and wonderful piece.
Only thing I'm having a little bit of trouble using SpitFire's BBC app when it comes to programming articulations. Round Robins are killing me.. :(
What's your problem with the RR?
Yes, it takes a lot of time tweaking and automating this BBCSO app, especially the shorts. Shorts in Albion One are more stabil, but less realistic I think. That's why in other compositions I double them… for instance In the WestWorld contest score I'm working on now. Will be on this channel in a few days.
@@jeffhijlkema Well I figured it out... The problem was the switch key (piano note) wasn't the C-1 or C#-1, in reality it is the C-2 & C#-2 (a lower octave) but thanks for reaching out.
@@rumar4u and you know you can tweak these keyswitches wherever you want
@@jeffhijlkema Yes I'm getting the hang of it little by little and I've been playing a lot with SpitFire's App to maximize it and save RAM and time when opening a mockup or preset as I'm pretty used to Kontakt which I believe manages RAM better by having the ability of having less instances. You need a Extreme PC in order to have all those Instances like you have opened in one session.
Beginner question: What do you mean when you say 50% amount of full mix reverb? Does that mean setting the mix knob in the Pro-R plugin to 50% or setting something outside of the plugin to 50%? Thank you.
In Fabfilter Pro-R I use full mix. In Cubase just about 50% amount (that's fader about -10 setting).
Best regards, Jeff
Well done, I have Core, but yet to get SA to convince me to upgrade to pro. I bought OT Tableau solo strings 119Euro to get lead instruments it has 5 mic positions and more articuations than Pro. So half way house. I am also reading comments the new OT Berlin Inspire package is better than Pro. Just wondered if you have come across this. There is a lot of reviews and assumptions on quality of sampling. I believe now others have found the same way as Spitfire.
Thanks Robert! I have decided to really dive into BBCSO Pro to learn all it's features and possibilities. All is in there I think, but it ofcourse needs time and effort to get it out. That's why I have not come across the libs you mentioned. The all in one room aspect of BBCSO Pro I really like. I agree BBCSO could have some more articulations/patches, like muted Brass, and string runs&gliss. Maybe in a nearby upgrade? All the best, enjoy composing.
Sounds great. Wondering how it would sound by adding in a bit of the spill mics?
Hey Jake, it seems we both got our question through at the webinar with John Powell '-) (I asked opinion about Westworld scoring competition)
@@jeffhijlkema yes, heard that one...very cool!! :) I mean, with regards to that...it's really not David that people should be angry or upset with, if anything it's SF...but not even for choosing the winner, but why, and also addressing people's questions about the contest. I just think if SF had publicly addressed the issue, this would have been resolved a long time ago...but they kept it going.
This is one of the most gorgeous things I've heard that's done with samples. Kinda makes me wanna get BBCSO but I don't think I can justify the price of Pro. Do you have any thoughts about the one mic position included in Core?
Thanks Tremendouz! In the mix afterwards, like I did myself, you should be able to create some whith and depth, using stereo panning, reverbs and the 'Haas' delay effect. Core in the beginning does give you the wanted orchestral cohesion.
I've done a lot, very lot of automation and velocity tweaking to 'find' the right colors and sounds. Mic setting didn't even had some of a priority for me in this one, just using only the realistic mix1 mic preset straight away. Hope this answers your question.
Be well, Jeff.
@@jeffhijlkema Thank you. So is Mix1 the same mic that's included in Core? I'm struggling to find info about it apart from the fact that it only has one mic. Either way, the demos I've heard with Core sound good and not excessively wet.
@@Tremendouz That indeed is hard to find out, bit strange I think.
The given signal preset in Core at least is a mix though and I expect it to be the Mix 1 preset same as in Pro, but not sure... Just ask Spitfire Audio.
Beautiful. When you compose a work such as this, do you compose primarily in your DAW, or do you first compose more "academically" using notation software such as Finale?
Thank you Daniel. To answer your question straight; no, I do not.
The more in-depth answer; I work by ear nowadays. The melody-chord basics I compose behind my grand piano, making audio recordings of it with a memo recorder. I then start working out these audio sketches in Cubase, with a global orchestration/instrumentation plan in my head already, adapting these basics ideas along the DAW way ofcourse.
In the past I use to compose in Finale only (with GPO vst). Sure I now use that theoretical, academical experience on a imaginairy level so to say, to create instrument parts that look and feel realistic for players. I never open the score function in Cubase though 😜. Hope this answers your question. Just let me know if it didn't. Be well, Jeff.
@@jeffhijlkema This answers my question perfectly! Thank you for your input, and again, congratulations on such a vibrant and life-like virtual performance!
Convincing performance. Did you use the core or the professional edition?
Thanks Reniar. Glad you are convinced. I use the Pro version. I think it is much better when programming the nuances ofcourse. Not for the wallet ;-)
Is the Perc from Bbc as well? Its so good!
Hi Marvin, thanks for listening and your compliments, that's nice.
As I mentioned in the description; there is help from the Hans Zimmer percussion library, using the more traditional percussion, not the ethnic. And there is much layering, always using high, mid and low percussion. All the tuned percussion is BBCSO. Hope this answers your question.
This sounds beautiful! Would you be able to say that you recommend Hanz Zimmer percussion? I saw that you used it in the description.
Hi TGT, thanks for listening and reacting! HZ perc sure is great for detailed sound and a wide range of drums high mid low, also nice ethnic stuff. I often use it in combination with Albion perc and Iceni perc. For this BBCSO demo I only used the more orchestral perc of the HZ perc.
In my hybrid orchestral work The Zealot Travelogue I only use HZ perc, at some points it really comes at the surface, mixed as if you're standing right next to it ;-).
Be well, Jeff
@@jeffhijlkema Thank you! I will look into HZ perc. Also, this sounds really amazing, great job!
@@TheGaimingTurtle1 one critical thing on the HZ libr though; on the low drums the close mics recordings can sound a little distorted when putting open too much. It really is all about tweaking with the close, room and stereo mic faders. But then the overall HZ libr sound is just beautiful in my opinion. What I like is actually hearing the tom skins vibrating here and there.
Amazing! Besides performing and automating, did you do any extra detail for realism? Sounds top tier
Hi there Mario, thanks for stopping by and reacting. Very nice!
Guess about 90% is automating/tweaking every single instrument track. the rest is panning and balancing first when starting the mix (after rendering every track seperate), giving every single instrument track it's own place in the left to right spectrum. For example panning horn 1 just a little more to the left then horn 2, and so on. creating space, widening.
Then I use two reverbs to create depth; In this case at first 25% of the build in reverb within the BBCSO plugin, to create some space around the instrument(s) itself.
Second reverb I use is a Hall reverb from FabFilter (with low end insert EQ roll off) to create clear depth and glue it into one space.
Personally I think the reverb thing is a matter of personal taste. The realism is done mostly by the tweaking and automating. What kind of realism do you mean otherwise?
Hope this answers your question?
@@jeffhijlkema Wow. Amazing answer. Most definitely answered my question.
Most people don’t take the time to go so in depth.
Never subscribed to someone so fast lol
Cheers bruv, keep up the great work.🔥
Mario
@@jeffhijlkema Hey, thanks for the extended answer, really helpful. If you don't mind, do you use stereo link panner? Or just balance?
@@ashtviilon529 In Cubase I use the Stereo panner option while it is a less hard panning method, saving some of the sound from the 'deleted' part/side (by default it is set on balanced panning),
Thereby I sometimes use a reference track of a orchestral recording that I like (containing all instrument groups that I use also) matching the balance/panning up with it. I import such a reference track into Cubase, matching back and forth. Using it to reference the reverb also sometimes. It can be a good starting point.
Be well,
Jeff
@@jeffhijlkema Thanks a lot Jeff! Be well!
Brilliant Jeff. I have BBC SO Core. Would I be able to get anywhere near your production using Core? I see you only use 1 mic setting, the same as Core. What else am I missing by not having Pro? Sorry if that sounds a little naïve, however, I am a hobbyist. Any guidance as to why I should aspire to get Pro, gratefully received. Thanks again.
Hi Glynn, thanks for your message and nice words. I get your point and would like to help you out. In order to give you a good answer I would have to know what it is precisely that you miss in your work compared to my suite. Maybe I can put some things down in a little tutorial on this channel...
@@jeffhijlkema Thank you Jeff. The things I am missing in my work compared to yours are your very realistic strings and also your final mix/mastering. How do you get everything to sound so polished. Thank you.
@@glynnhodgesmusic3140 concerning the realistic strings: In all my BBCSO orchestral works I spent a lot of time automating with mostly the CC1, CC11 and CC21 parameters, using my mouse!. Next to tweaking with the velocity, of the sample itself just to find the right sound. But..., it all start before that with knowing what you want to hear. Imagine yourself being a string player, what is logical to play, that also means logical bowing and phrasing. I am a violinplayer myself and played in several string orchestras, so I use that experience imaging myself how things would sound like and I tweak just as long as I need to get it right. That means I can be automating/tweaking a 16 bar stringline for days!
I play all parts on my Komplete Kontrol midi keyboard, automatic quantize off, so notes won't be put at the grid and it sounds humanly loose. Afterwards I use just a 60% quantisation to the grid. Thereby, I listened to a lot of classical music in my life, so I have build up a string and orchestral sound reference. Trick:, just import a string orchestra piece and try to match it with your string orchestra sound. That means panning, automating, everything it needs.
Concerning the mix: I render every instrument track seperate. listening to it afterwards if it sounds beautiful, good and logical on its own. Then I make sure I pan every instrumentgroup at its right orchestral BBC place, before putting reverb on it's AUX send channel. I roll off unwanted and not needed frequencies. And I make every instrumentgroup sound better, bigger and wider...not harder!... I learned a very lot following the work of the famous Alan Meyerson, specially this video:
th-cam.com/video/h9jZqn5lnw4/w-d-xo.html even buying some of it's featured mix plug-ins.
Concerning the mastering. I did not master this suite that much. Just EQ -12 roll of on 20hz and a +2 boost around 5K. And another EQ for the smaller details like low side EQ roll off and mids roll off because of using samples (222hz roll off.) Then little compression, just -2 db max, 2:1 ratio and attack and realease both in the middle. Then a transparant Limiting, not pushing it into the red, just some peaks. I used only FabFilter plug-ins for mastering (EQ2, Compressor C2 and their Limiter L2).
So resume...try to become aware of what you wanna hear and spent time shaping it till you are satisfied. This Suite took me a month in total. Mostly automating/tweaking ;-)
I understand this is a lot of text and it would be maybe nicer to see me work through a tutorial / walkthrough. Myabe in the nearby future...
Hope this answers your questions, just let me know if you have further question. Or just send me a string fragment so I can comment/feedback on that and tell you what I think it needs ;-)
Be well,
Jeff
Thanks a lot for your advice Jeff. Really helpful and detailed. Thanks for providing so much detail. All the best.
Beautifull! Iespecially in the slow passages. The faster epic stuff needs some work. Or is it the library, thats weak at this point?
Thank you Stephan, fine feedback! Depends if you think the weakness is in the composition, more in the programming or in the core of the samples itself? I think for example the string staccato's overall are not that good and stabile in the library. Some deeper tweaking might solve some of those issues. For me this library is good when composing/producing 100% orchestral music. When going more hybrid/epic I'm not convinced fully yet. Thanks again.
@@jeffhijlkema Thats exactly what I meant. This Staccatos are to soft and some faster lines are played out to long. But the slow Stuff at 4:13 is just sooooo goooood!
@@jeffhijlkema I consider buying it too but I'm not so shure. The Hollywood Orchestra Diamond is on Sale right now and its sounds also great but its so overcomplicatet. I own the Gold Editition and I barely use it, because of that.
@@descign When in doubt don't, as Benjamin Franklin said.
Do you think the overcomplication issue is raising a threshold for you to dive into the deep tweaking of your Hollywood library? It's the tweaking that takes most of the time is my experience. Mockups yet will never sound as realistic as we want I guess. The Hollywood Gold can sound fantastic I think > th-cam.com/video/dU7t9C3wIXs/w-d-xo.html
I just love the overall sound of Spitfire audio orchestral recordings. The acoustics, the warmth, the English sound. It's not too harsch, although the staccs are in BBCSO (!).
@@jeffhijlkema thats the reason why I didn't buy it yet. I have to learn orchestration. And I have the tools for it. So when I'm at a point where I need an other library I go with Spitfire. It's the ease of use that got me to them and of course the amazing sound.
The six parts are all at the same tonality or I listen not carefully?
You're right, it could easily have been titled Six part Suite in D. Here we go:
Introduction: d-minor
Waltzing March: d-minor
Galloping along: d-minor, with modulation to b-minor
Danger on the Track: d-minor, with modulation to b-minor
Arrival: D-Major, with modulation to G-Major and Bflat-minor
Reflection: D-Major
Be well,
Jeff
Hey Jeff, do you have the midi files for these pieces? I'd love to spend hours going through them, they sound incredible!!
Hi Marc. Thanks for your nice words. Sorry to say but I'm sick, can't reach my midi files from here. Maybe in a few months I hope. All the best, Jeff
@@jeffhijlkema hey Jeff, just an idea… if you can’t share the file, maybe at some point on this channel you could do a screencast where you go through each track and show how you did it, to teach us, mere mortals, how to achieve such a great result.
@@Spidouz Hi again Phil. Thanks for your compliment, thats nice. And thanks for sharing your idea. Always appreciate suchs. I've been asked before and thought of it myself some times. For now, as you might have read on my community tab, I'm pretty ill right, not composing or anything that active now. At some recovered point I really might dive into this 6 part suite, really revisiting (its been more then two years) and come up with some walkthrough per part. Would be a nice serial and challenge.
What precisely would you like to see or get out of such a part or serial?
Be well, Jeff
@@jeffhijlkema get well
How did you program this beauty. Great job
Thanks@TunesMusic.
Composing an idea, writing it down in my DAW, is one thing. After that it begins... A lot of time goes to tweaking every single instrument track to make it sound realistic and human as in my opinion. I actually close my eyes then, imagine musicians playing it, grabbing these notes on their instrument, and then I do my best to automate the #CC parameters to my imagination. After that proces I also balance every instrumentgroup internally.
Hope this answers your question. Just let me know ;-)
@@jeffhijlkema Thanks yes that is what I thought. I am still looking for a good midi control surface but yes you di answer my question. Great job
@@tunesmusic8929 By the way, I'm automating about 95% by hand in my DAW (Cubase, automation lanes).
@@jeffhijlkema wow I am surprised because I find it hard to automate via the mouse I also use my ipad and OSC ... thanks for the reply
Great work sir, are you a self taught composer ?
Thanks Benny. Glad you liked it and nice that you took the time to listen to the all the 6 parts.
Indeed, I'm a dilettante composer, but did finish a study at the conservatory to become a music teacher.
@@jeffhijlkema ahh interesting, I'm mostly self taught as well, would like to know any good resources online for self study purposes
@@remyfammm What would you like to learn? Scoring, orchestration, instrumentation? What I think is a good practise is constructing a classical mock up (in your DAW, using your best vst's) Look for, a little part from a Haydn or Mozart symphony for instance. You'll learn about; orchestration, instruments and their spectrum, structures and phrasing. All the best!
Hi Jeff! Amazing piece! Congrats! It really feels wonderful! I would like to ask a specific question if you mind. How many GB of ram your computer has assigned for your BBCSO template in Cubase? I'm on 32 GB total and I wonder that if I buy BBC SO Core, will be there any problem about my RAM. My processor can handle with it but not sure about RAM. Thanks in advance!
Dear Erhan, thanks for your compliment, feels good also ;-). I have 'only' 32GB RAM. But putting my Steinberg UR44 soundcard to a 1536 buffersize. In the BBCSO Pro plugin settings the buffersize still is on the default 512. As you might have read in this Suite I only used the MIC 1 preset on all used instruments. That saved a lot of RAM also. BBCSO Core just comes with 1 signal preset (mic positions mix) so I expect 32 RAM will be fine then.
@@jeffhijlkema Thank you so much Jeff for your reply and demo piece :) Means a lot for me. Yes I've read your explanation about "mix 1". Actually I was also considering to buy Core . With your help ,I'm certain about this thought.Thanks again! Stay safe!
Is it possible to buy your template? 😇
Hi there, just the tracks template or together with the midi events?
@@jeffhijlkema I was thinking from the mix/master standpoint for BBC SO Core. You see I’m after a well mixed/balanced/mastered template for this particular library so it sounded great and was ready to start composing - “out of the box”.
I like BBCSO, but I don't think it gives your orchestration and music justice :))
Gna Samuel, thanks, didn't see that one coming ;-). It's a half a year ago I composed and programmed it. Wonder if I could improve it still? That's a challenge! I know there might be some room left tweaking and automating the hell out of all the tracks even more. but indeed, I guess BBCSO is still too full of flaws. Wonder how long it will take any develloper to come up with the let's say perfect, total realistic programmable library. I think we are standing just at the beginning of controlling library sound. Takes improvement in DAW's also. Would be cool to join such teams! 😜.
Be well, Jeff
@@jeffhijlkema Indeed Jeff, in 20 years we'll look back and think "How did we make music with that ancient tech?". DAW's and sample libraries are getting better and better at an exponential rate.
RIP to CPU for not being Multi Timbral tracks.
Indeed. C>50%-T>100%-O>80% and all the spill mics> 50% on all tracks is a stutter event, even with sr on 2045 (8 core 3.5 GB).
So, I compose with mic mix 1 preset and render seperate tracks with customized mic settings. While those spills are great! Not using them in this one though.
Great!
Great!
Thanks Michael! Glad you liked it.