It's a pity that I can't participate this time, but it's very helpful to have a record on CZcams. I will study while watching the video of the class when I have time. From For East Islanders of Japan.
When he said the requested music was supposed to be "positive, but nostalgic, and a bit ridiculous, ironic" etc... first I thought "whoah thats some tough and contradicting request!", and I started to imagine what kind of music I would make... and then he played his first idea, I was like... "meh, if I were the producer I wouldnt take that..." :D sorry dude! :D I didnt really like neither the second idea... but lucky the the producer brought you on board, because the main theme at 30:36 is gorgeous, loving that! Anybody else thinks of Sicilian mafiosi in their orange orchard? :D
I took the advice of layering sample library strings with real strings. For an album I'm working on I used British Drama Toolkit to compose a cello line. Then sent off the PDF score sheet to a cellist I know for Snow Patrol. Got the cello line back in 3 separate audio files. Played the 3 cello tracks with the original British Drama Toolkit cello line, and decided to keep it in because it added to the layers. Sounds mense! Love the idea of reversing certain instruments to prick up the ears of Directors, and Producers when on the receiving end to listen back to, as explained in the video.
It's important to cover topics like these. Thanks for the candid assessment of how you got in front of a producer who used you work! Yes, it takes some pub time, and mostly as I say "being in the right spot when they need a composer." And your discussion of your style is informative.
Thank you for your insight. I especially appreciate how you humanize the process: recounting your own experiences and making observations. I looking forward to your next presentation!
I never tought about using a wurlitzer on a production with orchestra... guess I didn't experimented that much. I'm going to try that one day, sounds like a good idea. Great class as well, really helpful. Keep on it!!
I'm curious to hear how you created your signature reverse Wurli sound, and see the process of building your own sampled instrument. Also, you mention being able to create a track like this in a few hours, but I can't imagine setting up and recording live instruments, composing and recording in this time. Are you speaking only of using instruments that you've already created?
Hey James, thanks for watching and commenting.. Hehe, this specific shirt I got from a shop called OAK here in Madrid I should get commission for advertising them ;) Ox
At first hearing of your music, I would have said it comes from René Aubry, but at second, I feel, no, it's different. Thank you so much for help and develop us. You're very costly.
Terrific class, thanks!! - but in watching it after the live stream, the video is about 8 seconds behind the audio, which was quite disconcerting to watch. I hope this can be corrected in later classes.
tiendo a utilizar los faders de expresión y dinamica en valores altos, no es aduecuado? mejor en valores medios o bajos? o dependencia del instrumento y la aericulaci'on? Gracias Oliver
Hi Oliver! I have a quick question: Do you cut down the higher frequencies from the instruments at the back of the stage i.e woodwinds or percussion in order to create depth? I hear they do that sometimes. Thank you in advance
Love your use of the Wurlitzer piano! You recorded your Wurlitzer into audio tracks in Logic in your examples here. Would you please describe how you process the Wurli signal? Do you use a DI or do you mic the Wurli speakers (or an amp)? How do you eliminate the noise inherent in a Wurli? Do you always prefer the Tremolo fx in Logic to the Vibrato in the Wurli? At what point (if any) do you change the mono Wurli signal to a stereo image? Many thanks for sharing your insights and experience!
Hi there Timothy. Interesting question(s), in this case I've recorded the Wurli just mono via my interface (back then it was just an mbox pro!), so the DI signal right into Logic. Then I believe I've used a Chorus plugin to turn it into a stereo signal. I didn't do anything to reduce or eliminate the noise, I actually like the noise and 'rough around the edges' kind of sound of my old wurli. I like to use the Wurli Vibrato, but if it's accompanying a lot of other instruments, the tremolo within logic will be sync'd to the tempo, so that suits better in that case. In general, it depends on the project, I don't always have it routed and recorded the same way. When I used to play in bands I always had an amp where I've put my wurli through, a Jazz Chorus JC40 or a fender amp if available, to really make it crunchy. At the moment, I have it going through a bunch of pedals, and one of the reverb units turns it into a stereo signal. If it's only part of a band set up though, mono is fine as you'll most likely pan it to one side. I hope this helps! Best, Ox
I tend to use the expression and dynamics faders at high settings, isn't that appropriate? better in medium or low values? or does it depend on the instrument and the aericulation? Thanks Oliver
Expression can be useful at all different levels. Keeping it just high is probably reducing the breadth of what you can express. Some instruments respond to it and others do not -- it's not a constant. Often playing around with expression settings can help you discover a new timbre or texture you want to use in your next score.
hi Miguel, yes, what jimsky7 says. Expression and dynamics are there to be tweaked and programmed. They shouldn't be on a constant level. I hope this helps! Ox
Hi there, thanks a lot! Was it the youtube sites for learning? I think I've mentioned: Junkie XL Pensado's Place Rick Beato Christian Henson Music Pianobook Andrew Huang Mix with the Masters I hope this helps. Best, Ox
If there's an ostinatum feature within the library, it can make your life easier in terms of programming - not entirely sure whether it sounds better or worse. Possibly similar?! Thank you for watching and commenting, Ox
Hi there, thanks a lot - yes sure thing, here it is: we.tl/t-OTfsEb0mHR I hope you'll get it in time as it will expire in 7 days, let me know. Best, Ox
Hi Leonardo, I mainly use Spitfire audio libraries, or then if possible live instruments. Depending on the project I might have to get an instrument we don't have in our range from another developer, such as a saxophone for example - but then again, saxophones sound so much better live anyways. Ox
"Tryin' to be kind, helping each other out and... going to the pub and have a beer" will be my new motto.
Thank you, Oliver
It's a pity that I can't participate this time, but it's very helpful to have a record on CZcams. I will study while watching the video of the class when I have time. From For East Islanders of Japan.
When he said the requested music was supposed to be "positive, but nostalgic, and a bit ridiculous, ironic" etc... first I thought "whoah thats some tough and contradicting request!", and I started to imagine what kind of music I would make... and then he played his first idea, I was like... "meh, if I were the producer I wouldnt take that..." :D sorry dude! :D I didnt really like neither the second idea... but lucky the the producer brought you on board, because the main theme at 30:36 is gorgeous, loving that! Anybody else thinks of Sicilian mafiosi in their orange orchard? :D
I took the advice of layering sample library strings with real strings.
For an album I'm working on I used British Drama Toolkit to compose a cello line. Then sent off the PDF score sheet to a cellist I know for Snow Patrol. Got the cello line back in 3 separate audio files. Played the 3 cello tracks with the original British Drama Toolkit cello line, and decided to keep it in because it added to the layers. Sounds mense!
Love the idea of reversing certain instruments to prick up the ears of Directors, and Producers when on the receiving end to listen back to, as explained in the video.
It's important to cover topics like these. Thanks for the candid assessment of how you got in front of a producer who used you work! Yes, it takes some pub time, and mostly as I say "being in the right spot when they need a composer." And your discussion of your style is informative.
Thank you kindly! Ox
AWESOME! I just got the OPW plugin, and I am in LOVE. So inspiring!
I love the flughelhorn sounds :-)
Amazing thank you Hollie! Ox
Fantastic lecture. Out of all the Spitfire videos, I’ve gotten the most value out of this one
Thank you Rick, much appreciated! Ox
Thank you, Oliver & Spitfire Audio Team!
Brilliant, looking forward to this learning
Thank you for master class. Im from Russia. Your content very help me.
Thank you for your insight. I especially appreciate how you humanize the process: recounting your own experiences and making observations. I looking forward to your next presentation!
Many thanks John, much appreciated! Ox
Thanks for the video. Looking forward to future episodes.
Thanks also for showing that the Spitfire BBC Discover and Spitfire Labs sound great.
Very inspiring class. Looking forward to the rest of the series!
Thank you Oliver.
My pleasure! Ox
Awesome class, I'm very grateful! I just got my BBC Orchestra and now these classes are coming out - perfect! Thanks :)
And brilliant Aston MIcs :) Im with that company since the beggining
I never tought about using a wurlitzer on a production with orchestra... guess I didn't experimented that much. I'm going to try that one day, sounds like a good idea. Great class as well, really helpful. Keep on it!!
I often add pipe organ to an otherwise vanilla score -- it adds a nice smooth pad and the listener sometimes says "Hey What is that?"
thank you.
Excited to learn!
Thank you so much Oliver and Spitfire! This was really informative!!
Thanks for tuning in!
@@spitfireaudiollp Thank *you* for the class!
I am waiting
This is so amazing, I'm learning a lot, thank you Oliver.
Great video and content. Looking forward to the next masterclass!
Food for thought....
This is really helpful! Thank you Oliver and the guys at Spitfire!
You're welcome Andy - thank you for participating! Ox
Thanks!
Nice video. I'm crazy about LABS!
Thank you!
Thank you
Thank you😊👍
I'm curious to hear how you created your signature reverse Wurli sound, and see the process of building your own sampled instrument. Also, you mention being able to create a track like this in a few hours, but I can't imagine setting up and recording live instruments, composing and recording in this time. Are you speaking only of using instruments that you've already created?
Great video - thank you!
Thank you so much!! amazing class!!
Thanks Oliver! :)
Let's go!
Yay!
Thanks!!!
Oliver, where did you get that fabulous shirt? (thank you for this masterclass btw - excellent!)
Not a big fashion guy, but damn if that isn't a great-looking shirt! Material looks really nice as well.
Hey James, thanks for watching and commenting.. Hehe, this specific shirt I got from a shop called OAK here in Madrid I should get commission for advertising them ;) Ox
Gracias
LOVE this
I love OPW scores and writing abilities... Second to none (except maybe Homay S)
Homay Schmitz is da boss.
Thank you for the kind words Jaythan! Ox
Teach us, master!
Awesome!
Excellent
At first hearing of your music, I would have said it comes from René Aubry, but at second, I feel, no, it's different. Thank you so much for help and develop us. You're very costly.
give me MORE of this please :)
Long time No see ❤
Terrific class, thanks!! - but in watching it after the live stream, the video is about 8 seconds behind the audio, which was quite disconcerting to watch. I hope this can be corrected in later classes.
Alan Oehler it works fine for me maybe your youtube got glitched or something..
Love the music of the document how can I get it please?
tiendo a utilizar los faders de expresión y dinamica en valores altos, no es aduecuado? mejor en valores medios o bajos? o dependencia del instrumento y la aericulaci'on? Gracias Oliver
What was that video sharing link on the Spitfire page? Also, I love your accent Oliver, what's your ethnicity?
I'm from Switzerland originally, so my mother tongue is swiss-german. Best, Ox
I am learning so much! Do you play in each instrument separately or do you first write everything in piano and then take it over?
Hi Emilie, thanks for commenting - I like to play everything in, it gives it a more human feeling! Ox
Hi Oliver! I have a quick question: Do you cut down the higher frequencies from the instruments at the back of the stage i.e woodwinds or percussion in order to create depth? I hear they do that sometimes. Thank you in advance
hi there - I have never heard of this technique, but I'll try it out, sounds interesting! Thanks for sharing, Ox
I tned in lae but what is the fader you use for your orchestration on this project? It looks like it what I need?
It's the Korg nanoKontrol2, if this is what you are referencing to. Thank you, Ox
Love your use of the Wurlitzer piano! You recorded your Wurlitzer into audio tracks in Logic in your examples here. Would you please describe how you process the Wurli signal? Do you use a DI or do you mic the Wurli speakers (or an amp)? How do you eliminate the noise inherent in a Wurli? Do you always prefer the Tremolo fx in Logic to the Vibrato in the Wurli? At what point (if any) do you change the mono Wurli signal to a stereo image? Many thanks for sharing your insights and experience!
Hi there Timothy. Interesting question(s), in this case I've recorded the Wurli just mono via my interface (back then it was just an mbox pro!), so the DI signal right into Logic. Then I believe I've used a Chorus plugin to turn it into a stereo signal. I didn't do anything to reduce or eliminate the noise, I actually like the noise and 'rough around the edges' kind of sound of my old wurli. I like to use the Wurli Vibrato, but if it's accompanying a lot of other instruments, the tremolo within logic will be sync'd to the tempo, so that suits better in that case.
In general, it depends on the project, I don't always have it routed and recorded the same way. When I used to play in bands I always had an amp where I've put my wurli through, a Jazz Chorus JC40 or a fender amp if available, to really make it crunchy. At the moment, I have it going through a bunch of pedals, and one of the reverb units turns it into a stereo signal. If it's only part of a band set up though, mono is fine as you'll most likely pan it to one side. I hope this helps! Best, Ox
@@OliverPatriceWeder Thank you for your detailed answer!
I tend to use the expression and dynamics faders at high settings, isn't that appropriate? better in medium or low values? or does it depend on the instrument and the aericulation? Thanks Oliver
Expression can be useful at all different levels. Keeping it just high is probably reducing the breadth of what you can express. Some instruments respond to it and others do not -- it's not a constant. Often playing around with expression settings can help you discover a new timbre or texture you want to use in your next score.
hi Miguel, yes, what jimsky7 says. Expression and dynamics are there to be tweaked and programmed. They shouldn't be on a constant level. I hope this helps! Ox
Hello! Great class...towards the end of the class, you mentioned various sites to visit. Can you please post the URLs somewhere? Thanks so much!
Hi there, thanks a lot! Was it the youtube sites for learning? I think I've mentioned:
Junkie XL
Pensado's Place
Rick Beato
Christian Henson Music
Pianobook
Andrew Huang
Mix with the Masters
I hope this helps. Best, Ox
What CC controls did you use on the nanoKontrol?
I use modulation (cc1), expression (cc11) and vibrato (CC21) - thank you for watching Pat. Best, Ox
Brazil
is the ostinatum sound better then simply just playing the notes in the MIDI window ? thanks
If there's an ostinatum feature within the library, it can make your life easier in terms of programming - not entirely sure whether it sounds better or worse. Possibly similar?! Thank you for watching and commenting, Ox
Thanks @@OliverPatriceWeder appreciate it!!
I just want that terrycloth button up
great slide deck Oliver! can you share it?
Hi there, thanks a lot - yes sure thing, here it is: we.tl/t-OTfsEb0mHR
I hope you'll get it in time as it will expire in 7 days, let me know. Best, Ox
@@OliverPatriceWeder got it thanx :-)
What reverb and settings did you use? I have never heard it so clean.
Hi there, in this particular example I am using a VSS3 'Large Warm Hall' preset, which sounds lovely and I can only recommend this plugin. Ox
@@OliverPatriceWeder Many thanks, Oliver.
you would have to give a midi export..
Do you only use Spitfireaudio libraries or combined with other sample libraries in the market?
Hi Leonardo, I mainly use Spitfire audio libraries, or then if possible live instruments. Depending on the project I might have to get an instrument we don't have in our range from another developer, such as a saxophone for example - but then again, saxophones sound so much better live anyways. Ox
@@OliverPatriceWeder Thank you for replying!!!
What's the name of the device he uses to control expression in the melodic lines?
hi there Simon, it's a Korg nanoKontrol2! Thanks for watching, Ox
@@OliverPatriceWeder Thanks very much!
How can you apply to be in the zoom?
Is the first class going to be up too?
Unfortunately I think they're just skipping it. They couldn't do it because of technical difficulties.
Samurai Owl oh i see.. thanks!
@@hg_nad No problem.
HIIIII
what games did you score??? :OOOO
oh, you moved again from amsterdam? ... I hate moving :D
No se puede Instalar!!!!!!!