Well on the Good Day,
here is another composition, the progress of which is still frail, but I am starting to structure the implementation.
DAW : FL STUDIO 21 .
SYNTHI V - VICE ET VERSA
JUP8 V - DIFFERENT WAZE
CS 8 V - AFTERTOUCH SUPRISE
FARFISA V - DREAMY ORGAN
SQ80 V - TARZAN
OGUN FL STUDIO - TIMPANIE IN STEREO
KONTAKT 7 - NOIRE FELT
DIMENSION PRO - STRINGS AND WOODS
PIGMENTS 5 - ABOVE THE CLOUDS
Janvier 2024 - PascalH HSMR CIWA
Bonjour Pascal,
the sad theme (the future looks quite sad) is well developped by different instruments with varying accompaniments.
You could also try different variations on different instruments.
Hello Françoise,
thank you for your comment, your listening and your suggestion to give more depth to the compositions.
Iâve been thinking about it for a long time to give a lot more volume, and of course use the modules wisely.
I turn more towards VSTs close to digital sound because those for orchestration are financially too heavy an investment and interweaving the instruments of an Orchestra requires much more knowledge in structural harmony.
I think I will soon finance a product from Spirite audio at an affordable amount (I already have the free one), but I will have to upgrade to a 2 T HDD so that I can store all these beautiful people.
Have a good week.
Musical Friendship.
Bonjour Françoise ,
merci pour votre commentaire, votre Ă©coute et votre proposition pour donner plus de relief aux compositions.
Jây songe depuis bien longtemps pour donner beaucoup plus de volume , et bien sur utiliser les modules Ă bon escient .
Je me tourne plus vers les Vsts proches du son numĂ©rique car ceux pour lâorchestration sont finaciĂšrement un trop lourd investissement et inbriquer les instruments dâun Orchestre demande beaucoup plus de connaissance en harmonie structurale.
Je pense que bientĂŽt financer sur un produit de chez Spirite Audio Ă un montant abordable ( jâai dĂ©jĂ celui libre ), mais il vas me falloir passer Ă un DD de 2 T pour que je puisse stocker tout ce beau monde.
Passez une bonne semaine .
Amitié Musicale.
Hi Pascal,
I know the how costly a good orchestral plugin can be. I offered one to my son on his birthday. Since he has played with a full orchestra, he would not contend with an affordable one with a few keyswitches (touches contrĂŽlant lâarticulation).
I also would like to use the modules more wisely. Iâm satisfied with sketching ideas and I donât work hard on the finished product. A bit of a jazz attitude.
Jâai eu Ă magasiner un VST orchestral pour mon fils et je connais le coĂ»t dâun «bon» produit avec un contrĂŽle des diffĂ©rentes attaques.
Jâoffre souvent des suggestions que je nâapplique pas moi-mĂȘme. 
Câest un peu comme si je me parlais. Je ne travaille pas assez les piĂšces; je me contente dâesquisses. Je devrais travailler les dĂ©veloppements de phrases musicales. Ăa ne demande pas de possĂ©der la thĂ©orie musicale.
Bonne semaine Ă vous aussi.
Good evening everyone,
Well I set out to make a little piece without pretension and a little quickly.
To say, I got less lost in academic scales and tones, more in feeling, especially thanks to the Dark Vision preset under Pigments.
It is certainly the best constructed piece that I have been able to produce so far even if it is not of great musical quality.
But hey you have to give yourself the means to progress and grow musically.
I hope you enjoy listening.
Musical Friendship.
PascalHp
HSMR
âCIWAâ was the name of my cat.
Hello everyone,
although I am not very active on the forum I come quite regularly. I found on a sound bank for Analog Lab âAncient Mantra - Vocal Harmonic Prodâ extraordinary and I have a composition which of course is not yet finished but well on its way.
See you soon.
Musical Friendship of France.
NUIT DANS LE DESERT SUR MARS par Homestudio Musiqrictus CIWA (soundcloud.com)
Excellent, Pascal!
It sounds like a soundtrack for a Tarkovskyâs movie (Solaris, Stalker) with the powerful trombone accent.
Good evening Françoise,
Thank you for listening and your compliment.
I am happy to have found this preset since I was longing for a mysterious sound.
This is the one that is the basis of this composition that I need to work on much more.
Sorry for not being as present as I would like here but it is above all a forum for mutual assistance while I am in perpetual research on orchestral and cinematographic composition.
Thank you, your kindness and your benevolence.
Good evening Françoise.
Hello,
itâs true that I had a little trouble finishing this piece. Itâs true that I donât really have the fiber to compose at the moment. I go from tutorial to tutorial to consolidate my harmonic and musical bases but itâs not really what will inspire me. Although the technique is important, the empty score remains the empty score.
DAW: FL STUDIO 2024.
(NATIVE INSTRUMENTS).
NOIRE FELT: MODIF MAI 2024 N°7 5
(BBC SYMPHONY ORCHESTRA CORE)
CLARINETS A3 âLEGATOâ
BRASS HORNS A4 âLEGATOâ
(ARTURIA)
CS 80 V :
PRESET : NOSTALGIC ORGAN N°3
VICIOUS ANTELOPE .
ANALOG LAB:
PRESET: BIG STEREO CHOIR.
PAUL SCHILLING.
Very nice @PascalH_59.
I enjoyed that very much.
To me it sound like you have a very good harmonic base too.
If you need inspiration, then you perhaps could consider restricting yourself to use only one single synth - use only synth sounds and no samples in a project. That can change a normal way of thinking and work method. Thatâs just a suggestion and nothing else since you mention inspiration.
Musical friendship.
Hello and thank you @LBH for listening and your wise advice.
To tell the truth, your analysis matches that of my wife.
My mind is too much directed at the moment towards an Epic Orchestration. I am trying clumsily to justify my investment in Spitfire Audio and especially to follow Thomas Otem during his broadcast of tutorials for film music.
You are right, I will not be able to achieve this if I consolidate my musical base with few instruments (although here I have a lot of trouble choosing the instrument or the preset so much that they are for many a source of inspiration).
To tell the truth, my influence is mainly anchored in Anglo-Saxon and French progressive rock, and I am above all a guitarist before being a keyboardist.
Thank you for your kindness and your musical friendship.
Best regards.
Hi @PascalH_59
Just listening nowâŠ
I have to agree with @LBH Particularly regarding âchoice overloadâ as i call it.
Iâve had a couple of VERY similar conversations recently with a Guitarist friend and his current situation.
Something i did a few years back was to put my own restrictions on which Virtual Instruments/Synths/Drums etc i would use for a series of songs for the exact same reasons as yourself. I was spending far too much time scrolling through sounds and ended up procrastinating, and not making much music.
I actually enjoy restricting myself to a certain set of instruments for any particular project now. I just think back to the days when all i had was ONE synth, ONE drum machine, ONE portastudio, ONE reverb unit etc⊠and realised i made MUCH more music with a much more limited set of tools.
So now i just âpick my weaponsâ very early on in a project, or set of projects and just get on with it.
Great piece too by the way!!
Bonjour Pascal,
à propos de Sans aucune prétention, the beginning with piano and cello reminds me of 16th and 17 th century music (the era of Tous les matins du monde).
Then there are some more modern modulations.
Then the voice reminds me of Gorecki (Symphony of Sorrowful songs).
It ends with a modern chord progression.
I may be wrong but I think you worked hard on the chord progressions, the harmonic component.
Hello @francoise and @matjones , first of all I also thank you for listening, your friendly and judicious opinions that you bring to this new composition.
Yes as like your sharing of your experience @matjones .
I have enlarged my library of Vsts and software so much that the choice is far too important (I fear putting the cart before the horse).
With this desire that his compositions even modest be perfect and I end up getting totally lost, I have greatly reduced for some time the number of instruments to return to the essential.
It is certainly the choice of instruments which must harmonize with the vision of my musical project.
Thank you.
@francoise I am always surprised and delighted by the comparison with styles, artists and compositions of which I must recognize my ignorance.
My musical knowledge is not as vast as yours, apart from Zappa, heavy metal and progressive rock I have so far only skimmed over the classical and jazz very little. Orchestration for films made me change my musical path.
It is true that I am very interested in following more seriously the harmonic base and the structure of a composition.
To tell the truth these are first exercises that I put into practice, but as in cooking I always have a little trouble following the recipe, it is edible and full a little my wife who must certainly keep it to herself for fear that it will hurt me.
Good end of afternoon or beginning matjones and francoise, here in Bretagne it is 4:30 p.m.
Musical Friendship.
PascalH
Hi all.
I actually think you are rather good to use classical instrument sample libraries @PascalH_59 . Many of them is not easy to use and play well.
I think itâs good to have many sounds. Sounds can inspire. A painter have many colors to choose from. But the painter also make a palette for a project. New rules and new palettes for a project can be a ways to do things in others ways and give inspiration and new knowledge. This education can be used in other projects too. That the idea.
Kind regards
My sax teacher keeps criticizing young playersâ improvisation style for following recipes.
My cooking is not good since I follow recipes like a chemist. 
Rainy day in Quebec city, discovered in 1535 by a well known Breton.
Redemption Dâun Futur Proche - 1740 Wk $h2rt par Homestudio Musiqrictus CIWA
Daw FL Studio 2024
Base : Analog Lab (Abysses)
Motif 01 : Ktk 7 (Lores - Athem of Soulds)
Motif 02 : augmented Woodwinds (Feral Rise)
Motif 03 Augmented Voices (Bouncing Vowels)
KtK7 : Irish Harp ( April Rain).
The beginning of the first part reminded me of modern italian composer Giacinto Scelsi ( Giacinto Scelsi: Quattro Pezzi per Orchestra, for example).
The second part makes interesting use of Augmented Voices.
Hello and thank you @francoise for your visit and your listening.
I did not know âGiacinto Scelsiâ at all and the work was created in 1959 the year of my birth.
I am listening to this composition and quite admiring of the composer, although this music that accompanies me is quite weak compared to the development of such a Work.
At times we come close to the music of the film â2001 A Space Odysseyâ.
This will be a source of inspiration later on.
For LâexpĂ©ri-Mental as a source of augmented voices it will take me a few more years before achieving a musical conception worthy of the name, but it is a pleasure to discover myself like this.
My sincere Friendship Françoise.
I bought some of Scelsiâs compositions on CDs at the beginnig of 2000. I was surprised by their originality. Sometimes he would play the same notes with different orchestration (different group of instruments) sometimes with microtonal variations drawing from Thibetan or Andean sources. For him, different notes have their own colour in resonance.
It has a dramatic (cinematographic) impact.
Youâre already using Augmented Voices in an original organic manner.
To the pleasure of discovery!
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