Internal Methods

Doh....Sorry about that. I was under the impression that hollywoodwinds has solo instruments. Either way, VSL woodwinds do sound beautiful.

I would definitely say that a mix between Symphobia and Hollywoodwinds would be the way to go. Symphobia for full ensemble patches and Hollywoodwinds for solos, runs, etc. But as always, test out the demos and go with your ear/gut instinct. Happy Scoring

I'm sticking with the jazz ideas as mentioned above. It especially sounds as if it's going to take off into a huge jazz composition right at measure 33. Just something to think about. Other than that it's not bad. Just seems like it may take a little more development and clear direction as to where each phrase is heading.

Well, you nailed it!

I couldn't stop listening to this one. I do hope you continue to develop this idea and make it longer.

Well I certainly enjoyed this one. The simplicity is great for this piece in that it keeps that feeling of drifting without the listener becoming "too aware" of what's going on from odd changes or over-colorization. All in all after a little mixing I'd say keep it just how it is.

Two thumbs up! That is a great idea. There are many pieces here that would sound wonderful given the chance to rise above default midi sounds.

I really appreciate the honesty guys-thank you. This is the first time I used evolve and la scoring strings since I just bought them. I'm definitely looking to get familiar with these programs and take this idea much farther. And the tips on uploading are appreciated since I'm just starting to get more involved with the forums and this community. Having a blast so far and getting a lot of good feedback as well as helping others.

Thanks for the tips guys! I like your idea about the double basses Bergman and will take this into account. Also, as far as the abrupt ending I apologize as I didn't intend it that way, but I'm still learning many thing about Sonar 8 producer and how it renders audio. The strings are ewqlso which are ok, but I recently just started using LASS, which I would definitely say is worth every amount of praise it has received so far. Take care and I'll check out some of your composing. Thanks again!

Hey Stenzer, What can I say, Marius pretty much hit it right on the spot. You have to understand that most patches from other companies are mathematically "perfect." That is to say that everything is tuned perfectly to concert pitch or A440 blah blah. Also, every interval from that is tuned with exact mathematical precision, which of course as stated above, does not give a realistic sound since no string players play with perfect mathematical pitch even 50% of the time-much less 100%. Also the recordings were done very "dry." This means that while some companies use extensive reverb to make up for realism, LASS gives you a realistic interpretation. Of course in a live recording/scenario there is the overtone series that you must take into account, which will create an infinite amount of "mixed" textures depending on the space size, decay, etc. Of course if there is a patch that sounds "out of tune" and you are not mixing it with any ensemble, just use the tuning feature on the patch itself. I'm just barely scratching the surface with what this program is capable of, but so far I am astounded at the realism and expression. Also, if you plan on using it-read the manual. I can't stress that enough. There are so many features on how to mix and match patches and advanced functions that could easily be overlooked. Anyways, I hope these reviews help you in your decision. Happy Scoring!

I'd have to agree with jawoodruff up there. The suspensions do help to break up some monotony. I know it's difficult sometimes writing in this style for brass seeing as though you have to wonder how many times can you vary a theme that usually ends up as an authentic cadence. Overall, it's a good work. You should look into some higher quality sampler patches from either east west or even Garritan.

What a great piece! Your work just gave me some inspiration to keep composing. Anyways, you would love this composer I ran across while looking for teachers. His work is absolutely amazing. http://www.robin-hoffmann.com/audio/

I would have to advise going with Propellerhead's Reason. It's pretty all inclusive. Just remember, as with any studio software, it can take a little while to learn.

Mod wheels and filters...oh yes. Well it definitely did the job. It has a nice 80's electronic vibe.

Good work. It's very light and open sounding. Maybe try just a tad more instrumentation.