Musical info: it's about mirrors because of the musical form; pattern builds until around 50% of the song then works back the way, like a reflection. But as with all reflections, it's not exact...
Composed by me
Techno info: All played live using Oasys, Radias and T3. Radias and ER1 combine for rhythm when it comes. Recorded and mastered on D3200.
Wonderful magical voice at end, courtesy of Irish Acts
Wonderful harp, courtesy of Kevin Nolan
Wonderful strings detail, courtesy Karo Symphonic Library (edited)
Last edited by cello on Fri Mar 25, 2011 11:27 pm, edited 1 time in total.
Mirror Mirror is a beautiful track! so Celtic and smooth. Really enjoyed that. 2:43 was Awesome! the voice and the subtle drums, really sweet. Just a fantastic composition!
I look forward to checking out your other stuff!
Thanks for sharing your talent mate!
Elfo
Generic is the Enemy, I am a mercenary and Music is my weapon.
- Sir Dancelot
Wonderful magical voice at end, courtesy of Irish Acts
Ahh yes, that's the voice of a Ruth Bennett. I original hired her for the Vocal Assault project and loved her voice so much that I hired her again for OASYS ASSAULT.
The X-R Rack that's soon to be release also features her and everyone else on OASYS ASSAULT plus tons of new solo voices and new Choirs I haven't release for KORG keyboards yet.
If KORG add streaming to the Kronos for third party samples, I will likely release a huge library fro the Kronos.
Sharp wrote:Ahh yes, that's the voice of a Ruth Bennett. I original hired her for the Vocal Assault project and loved her voice so much that I hired her again for OASYS ASSAULT.
She's a talented girl! Also I have to say the samples are a joy to play - very responsive and transition very smoothly. I had this piece lurking for a couple of months and was trying something with cello on the top - however when I heard Ruth (sorry, The Letter "O"!) my problem was solved
Akos Janca wrote:Thank you for sharing your nice music, Neil. My comments as on FB: I like this pleasant sound - especially that is coming from OASYS.
I think my favourites are Mirror Mirror and Cantaloube. That cello track brings life and fits the music, giving a special character to the song.
Thanks Akos! Appreciate your kind words. I must admit I really like when a piece is developed and the cello is the icing on the cake! Mrs Cello plays it so well anyway, it's impossible for it to sound bad (other than my poor recroding/mastering of it!).
Listening to Mirror Mirror now. It is _absolutely_ beautiful. Stunning. The subtlty of the voicing, the emotion in the melody, the melodic harmony (change of mode from dorian to ionian at end of phrases?) - the textures - everything is magnificent. Inspiring.
And - you have that rare gift - you're a 'tune smith'. Boy is that melodically beautiful. Well done - and thanks!
One question - would you be willing to describe how you achieved that subtle mixture of choral and noise texture? No problem at all if you do not want to disclose that (we must all look after our art) but I adore beautiful textures and would be really keen to know the basic voicing in that. As said - absolutely no offence taken if that's something you don't want to disclose on a forum.
Congratulations once again - THAT is one magnificent piece. Wonderful.
Sorry for the delay in my promised reply re textures - apologies; been busy with travel, work and too many projects!
No big secret to the background to be honest - sorry to disappoint!
It's a very, very slightly adjusted out of the box combi... Int C 047 - Endless Choir. I have it edited to a slightly quicker attack - or rather less slow than the factory combi. I also moved the vector stick slightly (about 25% in distance terms) in the lower left quadrant. This introduced some lower register pitches.
Even then the most important factor is how to play it - you have to aniticipate the chord change and play slightly earlier than the change, then it gently moves into the new chord.
The sound also has a increasing volume during the sustain... so again sometimes you have to mix the sustain with a sustain pedal (ie stop holding the keys and using the pedal to hold at released volume), which avoids disrupting the mix but still allows that ebb and flow of the pattern.
The rest of the piece (and the background) relies on my definition of tintinnabulation. It is the ringing 'effect' of notes - through echo or reverb for example, or sound form on release... This creates a spatial element that implies certain notes and/or textures without necessarily making it happen deliberately.
So there you have it - adjusted combi, how it's played and a little bit of magic through tintinnabulation.
My latest studio piece - bit of fun really but an impressionist piece - recently back from business trip to China (Guangzhou) and some beautiful memories made me want to 'sketch' how it made me feel...
Techno info: All played live using Oasys, Radias and T3. Er-1 mk2 for rythm. Recorded and mastered on D3200.
Wonderful Piano & strings, courtesy of Irish Acts
Wonderful Koto, courtesy of Karma
