I’ve got to admit to feeling just a bit excited about the result of using all Spitfire on this piece and, whilst there’s always going to be a huge difference between what samples can offer and a real band, it’s probably the first virtually realised track of mine that I can listen to without feeling like I might vomit in places.
I hear so many mockups and a number of them very well written, but I just can’t seem to get past that huge, sonic, emotional barrier of the virtual orchestra. For me, it gets in the way of any true appreciation of the music (a vast number of my own pieces are included in this). Thankfully, I don’t believe that samples will truly ever replace what eighty people in a hall, or even one person in a room, is capable of, but being able to communicate musical ideas and emotions without access to human beings is an important part of what we are often asked to do. Spitfire has begun to break down that barrier for me.
The piece is a reworking/orchestration of Grieg’s Anitra’s Dance from Peer Gynt and I wanted it to sound as if someone like Ravel had got hold of it and given it a shake, oh and hopefully a bit of Blaney too. One of the aims of Spitfire has been to try to create patches that allow you to write what’s in your head rather than wholly for what sounds best with the samples. So I’ve tried a few things that I might normally shy away from when using the virtual orchestra. Has it always worked? I don’t know, but this approach is not only liberating but also speeds up the whole composing/orchestration process. I know there are a number of sample libraries available today that allow similar workflows but the fact that Spitfire comes almost premixed with the wonderful sound of the hall at Air, means that I didn’t even need to use one bit of reverb on the track. Anyway, hope you enjoy it.
Thanks,
Andy.
rankster2:
