Here is my take on Alan Silvestri’s Avengers Theme
I wanted to see if I could do this in less than four hours.
Web: http://www.BlackLightRecordings.com
Facebook: http://www.facebook.com/BlackLightRecordings
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How much did it cost for the rights to cover it?
I should see this movie still 
Not bad for a 4 hour mockup!
The Laurie Johnson Orchestra theme is a great piece of orchestration. Something about the way those strings were recorded in the 60’s is so silky smooth. I might try to mock that just for fun. 
Ah, so I take it you decided just to steal instead of paying for the rights.
Steinberg, can we remove the link to this garbage? 
Hi
Isn’t it like this as long you don’t get money for your remake nobody cares?
Otherwise the german composer Dieter Bohlen needed to be taken to court for covering a song of david guetta. 
but its in german Song from David Guetta Without you seems to be same as Joyrider from Dieter Bohlen.
Only Songparts are not on the same timing.
And i like the avenger remake if payed or not
Are you now the forum police ernest van yermom ?
Greetz Bassbase
You don’t need to pay to cover someones songs, go read up the legal side of it Ernest before trying to flame people please, uneducated people flaming others is really tiresome. The venue has to pay for the rights to have peoples musics played at their establishment, not the performers covering it, in the case of live music. So in this case, technically that’d be Youtube, since it’s a cover recording. And I highly doubt Alan Silvestri’s agent/company will be hounding Blacklight’s door down demanding his arrest over a midi mockup. Bear McCreary has a Youtube channel, and he comments and enjoys that people cover his music in ways like this so I’m not sure what exactly your problem is to get so agitated over this.
http://www.youtube.com/playlist?list=PL663C993D38A26A07&feature=g-all-a <----- See, A-list composer loving people covering his work.
Aaaaanyway.
Nice recreation really, although same as the LotR piece, that brass library sounds absolutely terrible (which isn’t your fault I expect you can’t do any more in terms of expression etc.) I’m not that impressed with the theme though tbh, it’s good but didn’t really stand out as anything that significant to me.
Think you’ve done a good job with the orchestration though. It sounds very accurate to me and the only parts I’m not sure on might just be because of the expression etc.
Overall, good job, although I’d quite like to hear some original pieces to be honest, as cool as the midi mockups are.
hey Gharun!
thank you for posting this, well done effort!
I saw the movie in Imax 3D, best movie (in this genre) I saw in years.
Could you explain more of the modus operandi?
I mean did you use a lot of key switches during the piece, or is it all played on midi keyboard in one time?
And did you use additional plugins like reverb and compressor to shape the sound or is this all just EWQL?
I’m just starting to work with this. This is one of my first pieces and I had to edit the hell out of it too make it remotely convincing:
http://soundcloud.com/dylan-siemerink/the-gathering
Still figuring out how to work faster otherwise it doen’s cover the expenses.
I Have to orchestrate some material in the near future, I had a testrun on HSO but that doesn’t sound near as this.
The company is going to invest in a package so we have to determin which. But what you use is great!!
Anyway, as always I’m impressed by your doings!
Greetz Dylan.
Hey John
You absolutely correct. I’m using Vienna Dimension Brass and I’m finding that in certain ranges the Horns and trombones sound excellent but in other’s they sound…off. Trumpets are my nemesis. I mix in VSL, EWQL, and WIVI from time to time and still cannot get a good trumpet section sound. If anyone out there has any suggestions on how to get a good trumpet sound in midi mocks please share. I’m all ears.
Hey Dylan
Sure thing. My template consists of LA Scoring Strings for my strings Vienna Dimension Brass with some EWQLSO Gold and WIVI mixed in for brass and Vienna Special Edition for my woodwinds (although none where used in this Mock).
I actually did this piece because I took my 5yo son to see the movie and he asked me to make the theme song when we got home so I did.
I do use combination of key switches and velocity switches for my articulations. For example C0 on all of my string patches (except for Basses which is C-1) is set for long notes. The long notes are divided by velocity. Soft is a legato, medium is a sustain and hard is a detache (probably misspelled). C#0, D#0, AND F#0 staccato, spizzicato, and pizzicato respectively. D0, E0, F0 and con sordino, Tremelo, and trill. All of my instrument are set up similarly so I can copy and paste unison or octave parts and still keep the key switches.
As for reverb I tend to keep is simple. I have all of my instruments set to group channels all strings to the strings groups, etc. I then set up an aux bus with an instance of Altiverb on it and route the group channels to it. I do use Altiverbs orchestral placement presets to place individual instruments left and right. All except LASS because it is recorded in position.
As for compression I run a multiband on the master channel and a side chain parallel compressor on my percussion group channel aux buss. Over the past few weeks I’ve been studying Rimsky Korsakov’s Principles of Orchestration (although you probably can’t tell from my original pieces just yet ) but I’m learning how to manipulate level and intensity by using the proper number of players in each group. 16 Vlns = 1 trumpet = 2 French Horns etc. The concept of orchestral balance is deep and complex and don’t expect to really be able to manipulate for quite some time. But hey, we’re all learning aren’t we. The good thing about both LASS and Vienna Dimension Brass is that you can easily manipulate the number of players in each section.
Hope this helps. Remember, I’m just getting started myself so all of this could be completely wrong.
I’m sure Ernest T. Bass has master the art of orchestration along with copyright law and can enlighten us further.
All the best.
G
Hey Jonathan
Almost forgot
Here is an original piece that I just finished over the weekend. Love to get you take, Nothing to special just a standard cinematic cue.
Also, this is the best I’ve been able to get my brass to sound.
Again, any input is welcome.
G
@ Blacklight.
Many thanks for the insight, lot of stuff to start thinking about.
Dylan.
Sir Dancelot, soundsonline-europe.com - This website is for sale! - soundsonline europe Resources and Information. if you download the video titled “orchestral” it explains the better way to do orchestral reverb with room stages and sections. That reverb sounds fantastic btw 
Hollywood Strings has more features than LASS really. Both sound good, but HS definitely has the edge over LASS. Never used LASS, but HS has true A and B divisi sections, whereas other libraries didn’t record them like that.
The best way to get much better brass sounds is to purchase EWQL Hollywood Brass.
- YouTube This is a piece by Thomas Bergersen of Two Steps From Hell. It uses EWQL Symphonic Choirs, Stormdrum 2, Hollywood Strings and Hollywood Brass. Sounds really insane for samples, but he is very experienced at it aswell as a fantastic composer. His masters was in orchestration, which helps too! But even out of the box Hollywood Brass just sounds so much better than that Vienna library. (Oh and remember Youtube quality makes it sound a bit worse 
)
He actually has the trumpets to the left at some parts of that piece btw, purely for balancing the audio, when trumpets are usually to the right of course.
As for the original piece, I liked the overall feel of it an the string parts were nice, but it lacked alot of percussion, in layering, panning and for really giving it energy and driving it through. Could have done with a better climax too! But I think the reverbs setup like in the first link above with a room stage over everything first, then each individual section with the respective pre-delays on in the mixing stage and then a final reverb in the mastering stage with a longer reverb tail would make everything sound better. It made quite a huge difference in my own stuff after watching that video above, and ofc purchasing Spaces. Good job so far, but the main two things missing are choir and the percussion being layered up and varied aswell as more energetic rhythms.
Jonathan
Thanks for taking a listen. I’m downloading the spaces-orchestral tut now.
G