Logic Tune 2

This composition followed the same creative process as my first tune. Mixed for use with tablet or smartphone speaker(s).  

Logic Tune 1

Given that my original project to transcribe Tchaik V fell through for the moment, I’m taking this time to create short, original compositions through Logic Pro X using a combination of sound libraries from Kontakt 5, Logic, and Mainstage. This first tune could be used for a variety of different applications. I'm using a mixture of midi signals and audio recordings. The creative composition process I used for this tune is as follows:      

• Wrote out melody and countermelody in Finale
• Exported midi, imported into Logic
• Played with a few different instrumentations. Concluded that mallet percussion, piano, and guitar are the easiest sounds to sample and sound good without too much manipulation.
• With my keyboard, I recorded the bass part and pad synth.
• Added some percussion loops and fills
• Automated dynamics and tempo changes
• Manually tweaked certain notes’ velocities to add some contrast in articulation with accents.
• Final mastering adjustments (little reverb, EQ adjustments, level adjustments).

LiveVibeTV Audio Director

This past week, Digital Worlds put on its bi-annual production of LiveVibeTV. It’s a show in front of a live audience and additionally streamed live over the web. As I have been looking for more live audio experience, this seemed like a great opportunity to get my hands dirty. I was given the position of audio director, which consisted of all pre-production duties, routing, setting the levels for both house and online mixes, and live dynamic mixing for the online stream.

As most of my audio experience exists primarily within software, the LiveVibeTV production was an excellent experience that allowed me to learn more about physical routing and mixing on physical boards. I ran 16 channels from our house band and wireless microphone receivers, split them, sent 16 channels to house board and 16 channels across the building to a combination of 3 smaller boards (talkback, house band, guest microphones) that sent audio to our video mixer for the online stream.

Through the troubleshooting, managing of both house and online mixes, and live dynamic mixing, this past week I learned a great deal within the realm of live audio production and found myself very interested in learning more and working more shows in the future.

Epiphany, Kreines Changes, and String Quintet Sounds

The Epiphany

Last week I had an epiphany. It is completely in my ball court to make the most out of my grad school experience. So the last couple weeks I've been attempting to take the time that I had been wasting on Netflix, video games, random depths of the internet and to try and make some strides in my knowledge and experience in the field I want to succeed in: music production.

I've been reading through a book that my classmate Robert gave to me, The Microphone Handbook by John Eargle. The information in that book has brought some light to some confusion I had during my previous work for Digital Worlds on the Race to the Top project. The knowledge I gained from the first couple hours of reading through the book would have improved the quality of my work ten-fold if I had read this prior to starting at DW. Like many things in life, we'll learn on the fly and will constantly have those "facepalm" moments where we think, "if only I had known this a year ago!"

To get back to my epic epiphany, I just made the realization that I need to take the bull by the horns to better myself, rather than just going with the flow.

Kreines Changes

Over the first few days of spring break, I continued my transcription project for Joe Kreines - the one I intended to create some recordings of for the purposes of this independent study. After putting some significant time into the project, I did some math and figured that just the notation end of the project would take about 200 hours to complete. I put some thought into whether or not this project was worth 200 hours of my time, considering the amount of time that this would take away from school and further myself per the epiphany described above. After much deliberation and counsel from those whose input I undoubtably respect, I decided to call Mr. Kreines up to cancel my work on the project until further notice. Which brings me to my third heading....

String Quartet Sounds

The cancellation of my work for Kreines has put me back a couple weeks with my intentions of this independent study (completely the reason why I'm doing work and posting on the blog whilst I am on spring break). I've exported the midi tracks from the first project I worked on for Kreines, a string orchestra piece that touches on a few Scottish Folk melodies. I've figured out how to map automations of Kontakt within Logic and how to change articulations (sustain, pizzicato, tremolo, etc.) on the fly. As I continue to make my edits of the various controllers of the midi signals, I will post some audio samples for you to review. 

That Input Grind

I've been continuing to input notes into Finale from the 1st mvmt of Tchaik V. It's turning out to be quite an endeavor. I will continue to post updates as I get closer to finishing the first movement.

In the meantime, I've been messing around with the string sound libraries within Kontakt. I think I'm going to create a small track of a few movements of the String Orchestra piece that I copied into Finale for Joe Kreines. Adding this side project will give me a little more experience with Kontakt and manipulating the sounds within. Will update with audio files as this progresses!

Working with Joseph Kreines

Copy Work Turned In

Last weekend I visited the renowned composer and educator, Joseph Kreines to present my first batch of copy work for him.

Within Finale, I completed a piano score and parts for Kreines' transcription of Edward Elgar's Nimrod from Enigma Variations for an accompanied soloist, along with an original piece containing 6 movements of Scottish Folk Songs for String Orchestra.

Here is a link to download the PDFs of the scores I created:

The Great News!

After taking a look at my work, Mr. Kreines offered me a very large scale transcription project that will probably take months to complete. He asked me to use his notes within the original score to transcribe the first 3 movements of Tchaikovsky's  Symphony No. 5 from symphony orchestra to wind band. Around 45 minutes long, creating a transcription Tchaik 5 is a much grander endeavor than what this independent study is designed to be. 

After discussion with my professor, Pat Pagano, I've decided to only create a recording (using various VSTs within Logic) of a portion of the first movement of the symphony. This recording will utilize much of the original music along with some of my own additions to fulfill the "Digital Arts and Sciences" aspect of this independent study. More updates on this exciting development soon! 

Getting Started in Finale

Today I began copying a handwritten transcription by Joseph Kreines over into Finale. The piece is a transcription for young chamber ensemble of the Nimrod movement from Edward Elgar's Enigma Variations.

Each person has their own technique to writing out notation in Finale or Sibelius. My general system is to tape the music that I'm copying (if applicable to situation) to screen, use my left hand to assign rhythmic values on the num pad, and use my right hand to assign pitch values on my M-Audio Keystation 61. I've gotten pretty quick at it!

^ My set up will always consist of coffee and lots of it.

^Utilizing Kontakt Player and Garitan Aria Player within Finale to some decent sample sounds rather than the stock ones provided with Finale. Even with just a few tweaks, the sounds aren't half bad!

I'm almost finished with the first transcription out of the two I need to turn in to Mr. Kreines next week.