Hi Paul - another great video. A lot of really useful information and pointers in here. I just want to comment on a few of the ones that resonated the most with me. 1 - Really appreciate your pointing out the various plug-ins you used, how you set them & why. I've often wondered about this so it's nice to have you point it out. 2 - Your description of your approach really resonates with me as my process is quite similar - with the exception of the results, but the process is basically the same. One part is particularly similar - Get an idea, start playing, chords will come to me, get stuck, fumble around a bit, start up again. The "chords will come to me" was said in a passing/throw-away manner, but this, I believe, is at the core of the creative process. It's not "I thought up chords", but "chords will come to me". This is so much how I experience it. I (generally) don't think them up (though obviously do at times), they come to me. I never cease to be amazed and grateful at how this happens! 3 - If it sounds good, it is good. (Love it!) 4 - The part on tempo changes was timely for me as well. I am working on a piece and had the feeling that a tempo change would be good for a couple of parts. But, I got in my own way thinking "No, I shouldn't do that" ("should" is such a horrible word - especially when it comes to composing!). After seeing this part of the video, the tempo changes went right in (and really improved those parts). Thanks for your videos and apologies for being so wordy.
Thanks Chas! Yes the chords coming to you - I think this happens best when you can connect your subconscious 'collection' of influences to the creative spark - then you've got exploration that is informed and inspired by all of the music you've loved in the past. I think this is what becomes our 'voice'.
Thank you, Paul, for this video. Every time you make a video on orchestral composition, I learn something from it. Everything doesn't come in one shot. We have to take a break and then resume the work. Furthermore, the thing that you mentioned about tempo change - that was interesting. Thanks, once again.
Been super surprised at the level of interest from SSO users! There will be a crossgrade discount later today. This - while from same session recordings - represents 3 months of programming work experimentation and implementation from Andy Blaney and Blake Robinson - so its very far from just a mash up of the same samples. BUT - equally - not gonna be for everyone!
@PaulThomsonMusic I'm surprised how interested I am in it as well. I love the AIR sound and a better sketching tool than Masse sounds lovely. Eagerly awaiting that offer. :)
This is a wonderful library and beautiful composition, Paul. ❤ Can I ask you what kind of Mac / SSD setup you use to get the best performance out of Kontakt and your own SA player? Thank you and please keep it up, you make the sample world a better place :)
Thank you! I’m currently still on an old 2019 Mac Pro - internal OWC cards with SSDs on them - I will probably update next year as I’m still pre M chips!
Hi Paul, i like the sound and ease of use of this library. For me the big libraries are very demanding and require a lot of knowledge and skill, and thus very time consuming to use. On the subject of the tempo changes, did you generate them from the piano track and then have to play to that tempo map for the individual tracks, or did you do most of it freely and then do the tempo track afterwards? Did you use clicks once you had a tempo map? Thanks
Thanks! So I played to a click firstly, and then once I had completed the piano part I started working on the tempo. I find that reclicking a “free” performance takes me absolutely ages and that kills the creative flow. I wish there was a quicker and more intuitive method!
Thankyou, that is very interesting, do you mean you manually adjusted the tempo by small amounts separately from playing? That seems to me quite tricky to get right, but maybe I am not quite understanding your method. I thought that Logic had a way of tempo mapping a free performance which took all the pain away from that.
Fantastic piece Paul, even it was straight tension. I wonder , if in the libraries that you use, there is a Cimbasso choice as a double to Tuba, for more rasp and tention marked parts for a orchestration in a track . Cause I love that instrument and it's rssp sound as sapstitute to the low round sound of a Tuba. If there is , I would love to know. My greetings from Greece.
Thanks Dimitris! Yes we do have Cimbasso in the main SSO library. In fact theres a solo Cimbasso and an a2 section as well. I've been using this instrument for many years - its a fabulous addition to the standard Symphonic palette.
@@PaulThomsonMusic Ah , thanks Paul for the info. Great like that instrument very much and I usually put it in a symphony orchestra skets cause it is Verdi's idea, so it is a classical one , and like to blend it with low tuba together for more raspy and darker sound. Especially in brass stabs.
If I already have the new SSO, a whopping 320 odd gigs, is this really needed? I can appreciate the fact that it's probably a great sketching tool. Thanks for all your hard work with Spitfire BTW.
Thank you! No you can certainly recreate what Andy has done here - but this would be a useful addition if you often need speed or you want to drop in a line or texture without breaking out all of the individual instrument groups. There will be a crossgrade discount set up today for SSO users as we've had such a high level of interest from that group!
I just discovered Bernard Herrmann Tool Kit. Could this be a better option for me than Tutti? Obviously there's so much more but regarding Tutti type patches, could this provide similar to Tutti? Thanks, Paul.
As someone who works in film, TV and video game scoring I’m wondering why there are no influencer reviews. I normally rely on the opinion of Simeon and the guys at The Sampleist. It appears they are now out of the loop? Seems counter intuitive
@@PaulThomsonMusic I saw that which is a good place through but I also usually see a release of video from The Sampleist would I feel like I get the most in-depth review. That front has been all quiet on a review.
Thank you for this video. I have a question. As I am used to "AIR conducting" while programming a mock up, I love tweaking the tempo track too. But in the case of a piece where some instruments are going to be recorded (p.e.: a soloist), I don't think making these kind of "1bpm per bar" changes is a good idea in order to have a useful click track for the musician. How do you deal with this problem? 🙂
Excellent question. As long as you are creating a musical sounding set of tempo changes most musicians will be able to lock into it after one listen. The one exception I do to this is where I'm recording an orchestra and theres a sudden tempo change from one bar to the next. I usually record the first pass and then do pickups from the change, and give the players a bar in at the new tempo. That way you can quickly get a perfect edit rather than wasting time and money getting them to try and make the leap again and again.
Could I make a video request Paul? I’m thinking of purchasing the Air Reverb to use in conjunction with Superior Drummer. Their last couple of expansions have been recorded in very dead rooms with decatree room mics. I want to apply Air to those and attempt to take those dry recordings and place them in Air. There’s no content relating to this online and obviously no demo, it’s a fair bit of coin so I’m skeptic. Cheers.
I don't have the latest version of SD - for more ambient drumming I use the Grange (our set of three megastar drummers in the legendary Headley Grange stairwell hall! - www.spitfireaudio.com/the-grange) However - - you can set the Hall in the AIR reverb to be a trashy much shorter verb and it sounds fabulous - you can also dial back the audio using one of the crunchier algorithms which also gives another colour.
![Where Ideas Come From.... [You Won't Believe It!]](http://i.ytimg.com/vi/gjiukZ7JJiA/mqdefault.jpg)
I really enjoyed that, lovely piece of music and very engaging and generous exposition of your thinking during the process. Thanks very much.
Thanks Steve!
Hi Paul - another great video. A lot of really useful information and pointers in here. I just want to comment on a few of the ones that resonated the most with me.
1 - Really appreciate your pointing out the various plug-ins you used, how you set them & why. I've often wondered about this so it's nice to have you point it out.
2 - Your description of your approach really resonates with me as my process is quite similar - with the exception of the results, but the process is basically the same. One part is particularly similar - Get an idea, start playing, chords will come to me, get stuck, fumble around a bit, start up again. The "chords will come to me" was said in a passing/throw-away manner, but this, I believe, is at the core of the creative process. It's not "I thought up chords", but "chords will come to me". This is so much how I experience it. I (generally) don't think them up (though obviously do at times), they come to me. I never cease to be amazed and grateful at how this happens!
3 - If it sounds good, it is good. (Love it!)
4 - The part on tempo changes was timely for me as well. I am working on a piece and had the feeling that a tempo change would be good for a couple of parts. But, I got in my own way thinking "No, I shouldn't do that" ("should" is such a horrible word - especially when it comes to composing!). After seeing this part of the video, the tempo changes went right in (and really improved those parts).
Thanks for your videos and apologies for being so wordy.
Thanks Chas! Yes the chords coming to you - I think this happens best when you can connect your subconscious 'collection' of influences to the creative spark - then you've got exploration that is informed and inspired by all of the music you've loved in the past. I think this is what becomes our 'voice'.
Thank you for sharing Paul, inspiring video!
Thanks! Glad you enjoyed it!
Thank u
Thank your very much! Very helpful.
You're welcome!
Thank you, Paul, for this video. Every time you make a video on orchestral composition, I learn something from it. Everything doesn't come in one shot. We have to take a break and then resume the work. Furthermore, the thing that you mentioned about tempo change - that was interesting. Thanks, once again.
Thanks for your feedback! Glad you’re finding them useful.
Great piece Paul! These are such beautiful sounding samples, if something you write does not sound good, the probelm is with your orchestration
Many thanks Andy!
The tempo changes are wild!
Haha! Yep but - when you shut your eyes they sound right which is the goal!
Will this be free for existing owners of SSO? Can't imagine paying an additional $100 for samples I already paid for.
Yea - please let us know, Paul.
SSO owners already have access to Masse for free, which seems to be very similar to the new Tutti in concept.
@@redlester Even less reason to pay extra for these
Been super surprised at the level of interest from SSO users! There will be a crossgrade discount later today. This - while from same session recordings - represents 3 months of programming work experimentation and implementation from Andy Blaney and Blake Robinson - so its very far from just a mash up of the same samples. BUT - equally - not gonna be for everyone!
@PaulThomsonMusic I'm surprised how interested I am in it as well. I love the AIR sound and a better sketching tool than Masse sounds lovely. Eagerly awaiting that offer. :)
Hi Paul, I have SSO now, but I like some unique microphones of SSSPRO in the past: BMF, when can I add these microphones to the latest version of SSO?
This is a wonderful library and beautiful composition, Paul. ❤ Can I ask you what kind of Mac / SSD setup you use to get the best performance out of Kontakt and your own SA player? Thank you and please keep it up, you make the sample world a better place :)
Thank you! I’m currently still on an old 2019 Mac Pro - internal OWC cards with SSDs on them - I will probably update next year as I’m still pre M chips!
Hi Paul, i like the sound and ease of use of this library. For me the big libraries are very demanding and require a lot of knowledge and skill, and thus very time consuming to use.
On the subject of the tempo changes, did you generate them from the piano track and then have to play to that tempo map for the individual tracks, or did you do most of it freely and then do the tempo track afterwards? Did you use clicks once you had a tempo map? Thanks
Thanks! So I played to a click firstly, and then once I had completed the piano part I started working on the tempo. I find that reclicking a “free” performance takes me absolutely ages and that kills the creative flow. I wish there was a quicker and more intuitive method!
Thankyou, that is very interesting, do you mean you manually adjusted the tempo by small amounts separately from playing? That seems to me quite tricky to get right, but maybe I am not quite understanding your method. I thought that Logic had a way of tempo mapping a free performance which took all the pain away from that.
Nice work.
I thought you were a Cubase musician only.
Very versatile.
Thank you! I have flitted around, written in Protools, Cubase and Logic (and many moons ago, Studio Vision Pro) but currently in Logic!
Fantastic piece Paul, even it was straight tension. I wonder , if in the libraries that you use, there is a Cimbasso choice as a double to Tuba, for more rasp and tention marked parts for a orchestration in a track . Cause I love that instrument and it's rssp sound as sapstitute to the low round sound of a Tuba. If there is , I would love to know. My greetings from Greece.
Thanks Dimitris! Yes we do have Cimbasso in the main SSO library. In fact theres a solo Cimbasso and an a2 section as well. I've been using this instrument for many years - its a fabulous addition to the standard Symphonic palette.
@@PaulThomsonMusic Ah , thanks Paul for the info. Great like that instrument very much and I usually put it in a symphony orchestra skets cause it is Verdi's idea, so it is a classical one , and like to blend it with low tuba together for more raspy and darker sound. Especially in brass stabs.
If I already have the new SSO, a whopping 320 odd gigs, is this really needed?
I can appreciate the fact that it's probably a great sketching tool.
Thanks for all your hard work with Spitfire BTW.
Thank you! No you can certainly recreate what Andy has done here - but this would be a useful addition if you often need speed or you want to drop in a line or texture without breaking out all of the individual instrument groups. There will be a crossgrade discount set up today for SSO users as we've had such a high level of interest from that group!
@@PaulThomsonMusic Tks, Paul. Looking forward to future treasures 😃
I just discovered Bernard Herrmann Tool Kit.
Could this be a better option for me than Tutti? Obviously there's so much more but regarding Tutti type patches, could this provide similar to Tutti? Thanks, Paul.
As someone who works in film, TV and video game scoring I’m wondering why there are no influencer reviews. I normally rely on the opinion of Simeon and the guys at The Sampleist. It appears they are now out of the loop? Seems counter intuitive
Simeon's review is up!
@@PaulThomsonMusic I saw that which is a good place through but I also usually see a release of video from The Sampleist would I feel like I get the most in-depth review. That front has been all quiet on a review.
Thank you for this video. I have a question. As I am used to "AIR conducting" while programming a mock up, I love tweaking the tempo track too. But in the case of a piece where some instruments are going to be recorded (p.e.: a soloist), I don't think making these kind of "1bpm per bar" changes is a good idea in order to have a useful click track for the musician. How do you deal with this problem? 🙂
Excellent question. As long as you are creating a musical sounding set of tempo changes most musicians will be able to lock into it after one listen. The one exception I do to this is where I'm recording an orchestra and theres a sudden tempo change from one bar to the next. I usually record the first pass and then do pickups from the change, and give the players a bar in at the new tempo. That way you can quickly get a perfect edit rather than wasting time and money getting them to try and make the leap again and again.
@@PaulThomsonMusic Thank you so much, Paul!
Could I make a video request Paul? I’m thinking of purchasing the Air Reverb to use in conjunction with Superior Drummer. Their last couple of expansions have been recorded in very dead rooms with decatree room mics. I want to apply Air to those and attempt to take those dry recordings and place them in Air. There’s no content relating to this online and obviously no demo, it’s a fair bit of coin so I’m skeptic. Cheers.
I don't have the latest version of SD - for more ambient drumming I use the Grange (our set of three megastar drummers in the legendary Headley Grange stairwell hall! - www.spitfireaudio.com/the-grange) However - - you can set the Hall in the AIR reverb to be a trashy much shorter verb and it sounds fabulous - you can also dial back the audio using one of the crunchier algorithms which also gives another colour.
What is that red fader box? Which brand is it ? Thank you, BV
Its the CHOI SAUCE controller - Chuck Choi is HZ's tech and the box is really lovely.
Thank you for getting back to me so quickly but MOSTLY thank you for everything you do for the community !!!!!