No u

People seem to really like that harp gliss haha! <3

​@@VIUSmusic Yeah 😄 but total relatable ... its makin the magic happen 👌

Hey, really appreciate the kind words, thank you so much! 🧡

@@dreamstudio-piano9083 It's pretty special! Couldn't stop grinning when I heard them play it the first time :D

Thanks for stopping by and listening! <3

@@MadGuys77 Hey, thanks for the kind words! :)

@@kaycee5796 You're cool :P

Thanks heaps! Always love a good harp glissando <3

Thanks man! Cheers for checking out the live version too ❤️

@@helixa-real Cheers buddy!

Hey, unfortunately I don't think tutorials for these type of videos really exist - you sorta just have to mess around and see what works for you. In my case, I just selected all the tracks in Logic Pro and recorded the piano roll window using OBS (which is free), before editing it all together on the free version of Davinci Resolve.

@@VIUSmusic Thanks!!!

Cheers Garrett :)

Thanks! The Logic session takes ages to load so I can't go back and give you a full list, but off the top of my head - Pacific Strings, Infinite Brass, SOLO (by Audio Imperia), Soundpaint 2001 Piccolo Shire, and a handful of other layering libraries sprinkled in as well. (Be sure to check out the live version in the description, the differences are fascinating - and I can guarantee my version will likely sound a lot less real afterwards LOL)

Hey thanks, I appreciate it! Regarding Infinite Brass, so much of the library's sound relies on good MIDI keyboard performances (there's a two-part video series on YT called "Mike Verta's V.I. Techniques" that I'd recommend watching, it's still so relevant even after thirteen years). I also do a lot of layering with other libraries to get a decent sound out of the trumpets and trombones - I find they sound too thin on their own. I currently use Cinematic Studio Brass to beef up the trombones. My trumpet layering gets a lot more varied depending on the musical context; in this piece, the free Norrland Samples solo trumpet sits behind the IB trumpets, but I'm currently experimenting with a combination of IB and the Sample Modelling trumpet for future projects. On the flip side, I practically never layer the IB Horns and Tuba - they always sound fantastic on their own. In terms of orchestral placement, I don't change a whole lot from the patches' default seating arrangements, but for brass, I have a preference towards using the library's room/stage mics more than the close mics - that way the players feel like they're seated further back from the rest of the orchestra. Other than that, my mixing approach is very simple; the whole piece was mixed exclusively with Logic Pro's stock EQ and reverb, and there's minimal panning involved. Your mileage will vary with the libraries I've mentioned - at the end of the day, getting a good sound depends entirely on how well you know your existing libraries/tools, and how well you're able to adapt to their weaknesses. Chances are, you already have layering options in your arsenal, and it's just a matter of experimentation. Good orchestration is also key, as does learning what a real orchestral brass section actually sounds like. Hope this helps :)

@@VIUSmusic Thank you so much for your time! I believe this piece is trully inspiring. You have done a great job. If you dont mind me asking, in terms of effects used on the samples, do you do any heavy eq moves with them? Any compression etc? And last, for your wind runs, which libs are u using? Thanks so much for your time answering!

@@nicoclous5762 No worries, and thanks for the kind words - if there's enough interest from people (and if I get time), I may end up making a breakdown video at some point. The EQ work is generally pretty subtle, with most of the heavier curves in the mids / lows. I tend to focus just on cutting stuff, rarely boosting anything (though I think I bumped up the high frequencies on some of the strings, especially the Celli). No compression on any of the individual tracks (except maaaybe for the double basses, though I can't remember off the top of my head). The guy that did the mastering for our album dialled in some multiband compression on the final bounce of this piece IIRC; not sure on the specifics though. Woodwind runs are a mix of pre-recorded ones and custom-programmed ones (using Infinite Woodwinds).

Oh, this video is all samples lol - I don't actually have permission to share the live version on my YT, so I'm getting around that by sharing a mockup and then linking people to the live version in the description 😅

@@VIUSmusic 😅 It was such a successful mock up that I had to check it several times.

Also Rate my music rizz

My favorite key is... the key to your heart 😉

LOL

Oh no way haha, that's so awesome - love the music on your channel btw, I'm listening to your cover of Nascence from Journey and it's gorgeous! <3

@@VIUSmusic Aw thank you very much! 😊

@@handznet Thank you! There's actually a couple of piano roll screencast snippets from this piece on my channel - they're the two most recent uploads :)

@@klewden1203 Love this analysis - and thanks for the kind words about the cover <3

❤️❤️

@@Tanguy_Follio That means a lot, thanks so much! :)

@@TrueVirtuoso Thanks for the kind words! :)

Thanks! Regarding East West: I actually used to main their libraries until around 2022 - main reason I shifted to other libraries was because they ended up removing a bunch of stuff from the OPUS engine, like being able to turn down the volume of the legato transitions when they stuck out too much. However, I suppose my main tip would be to play around with the release knob - I found that a lot of the legato/sustain patches in Hollywood Orchestra had their release times set way too quick, and it was noticeable even after adding reverb. Increasing the release time to around 500ms made them sound a lot more natural. This especially applies to the legato patches in Hollywood Strings. I'd also pick patches where it's possible to control both dynamics and vibrato - I've got two faders on my Korg NanoKontrol set to CC#1 and CC#11 specifically so I could control both parameters at the same time while playing stuff in on my MIDI keyboard. Other than that, it's all about going through each library and finding patches that are playable while also sounding realistic. As an example - for me, the legato Flute 2 patch in Hollywood Woodwinds was way more playable than Flute 1, and it sounded gorgeous (in fact I still use it from time to time, although the vibrato controls are a lot worse in OPUS compared to their older PLAY engine). I also had a strong preference towards using the "Slur + Port" patches, because I liked being able to control which notes I could glide between based on my own experience as a string player (you activate the slower portamento-style glide by pressing softer on your MIDI controller, and then pressing harder when you just want a straight legato transition with no glide). Those patches are a lot more resource intensive, but they make quite a difference, especially when you learn to control vibrato and dynamics at the same time like I mentioned above. Apologies for the text wall! If you have any more questions, just let me know and I'll try to answer as soon as I can :)

@@yahudirajan9313 Hey thanks! I just use a Scarlet 2i2 - super basic, but gets the job done haha :)

@@VIUSmusic That’s so cool man! I wish your dreams come true! Have a great day man ;)

@@yahudirajan9313 I appreciate that, thanks very much - and same to you too <3

@@VIUSmusic Do you have IG? We can talk about music! ✨