Emotions is the title of this song and that’s what it is
With the help of Scaler, but also ChordPotion, Reaper, Audacity, EastWest Opus and a well-crafted midi file by www.mediamusicmastery.com/ (This song starts from Cinematic Emotions 2. Thanks for the inspiration, Todd)
Stream Emotions 2 by josejuan | Listen online for free on SoundCloud
Emotions is the title of this song and that’s what it is
I would like to be able to compose such things, but I’m too poor in classical music
Claudio, you are capable of doing that and much more. All your sessions in “Scaler is good at …” show it. The music is inside, you know it. Thank you for your support as always, friend.
thanks, but I am sure that Fryderyk Franciszek, Johann Sebastian, and Ludwig souls are listening, so I don’t want have them rapping over my knuckles
So beautiful, magnífico.
Really touched me.
We need more music like this, to mend our spirit injured by pandemic.
Nicely done. What strings are those?
The combination of strings is a bit complex. I explain:
First of all I have the chords on a track with Opus Orchestrator (Basic Sustain). On another track I have a Knifonium preset, which is a synth simulating strings, although it also picks up horn-like sounds in the high end (Beautiful Flutter is that preset). In this second track, the chords do not correspond to the exact time, blurring the harmony. Beneath it (like a subbass, but with strings) is a new Forbidden Planet moving pad (it’s not exactly in time either). Finally, ChordPotion makes variations on the chords to send them to a Numa Player piano. Towards the last third of the song, the piano part is doubled with strings from Numa Player itself. Numa Player is very interesting: it has very good pianos (in addition to pads and strings) and you can have up to 4 instruments at the same time. And it’s free!
I tried this with a quite similar setup (Scaler, Chord Potion, EastWest Opus - just choir, not orchestra ). A bit of Sonivox Steinway piano and Oberhausen synth. Well, not with the some result, though.
BTW, Numa is excellent - just, I already did this song. Next Time
Beautiful work. A touching and evocative elixir of melodic specificity and ambient wash. I will try Numa player - mostly, I suppose, because it’s free. I’m not altogether happy with my strings samples (I used Scaler’s when I compose, but almost always transfer my Scaler lines to my DAW’s onboard sampler, as I find Scaler’s is a bit harsh.) I wish I could justify a top-flight string sampler, but I scarcely exploit the paid VST’s I actually have !!
It is true that Scaler strings are not very good. I have always considered that the instruments that come with Scaler are a guide to imagine what can be done, and they are not bad at all to be a plug-in within Scaler. It’s kind of like when I think of a score editor, whose potential is that: to make it easier to edit scores, even if it’s a bad sound. Another thing is a DAW with a built-in score editor: the sounds are good in this case, and the score editor is only basic.
Strings have been my goal from the beginning. I have several sample libraries with good strings. I have some great strings on the Cloud Composer subscription from EastWest, I also have (and much cheaper) Originals Epic Strings and Originals Intimate Strings, from Spitfire (Orchestral Tools). I think that the important thing, whether you use one or the other, is to control the velocity, the dynamics and the expression in what you play with the strings. With a midi controller it’s like a fun game, and the result is always something much more interesting.
Both Arturia (Augmented Strings) and Vienna Symphonic Library (VSL free) have recently launched very interesting free libraries.
Personally, I will tell you that in general I try and integrate different things to try and it is fun, but if later I want to edit the music in a score I do not doubt it: Opus Orchestrator allows me to separate the voices in different staves for Violin 1º, Violin 2º, Violas , Celli and Basses in an incredibly practical way
Well, now you’ve done it, sir.
Now I am hunting around for a new string package. The piece I’m working on has two or three string sections with a melody I am (uncharacteristically) happy with, but less than happy with the samples themselves. The VSL Celestial Strings sound appealing.
I just downloaded VSL free. It needs an iLok account and the Synchron player (under Kontakt, I think) IT’s fairly chunky in size. I have a 500Mb/s fibre connection so it’s not so much of a problem, but if you’re on ADSL it will be tedious.
Haven’t tried it yet.
Absolutely. We need a proper sampler and synthesis engine and I have some strong ideas of how we could make the sounds much more usable as at the moment they are static (no ADSR, no velocity layering, looping, filtering etc). That will happen as Scaler grows. We need to keep in mind its a $50 purchase so we have tried to make it as usable as possible. That being said I use the felt piano and synth sounds in my tracks all the time. I am working on a AAA video game title and the sounds have worked really well. Lovely track by the way, really enjoyed it.
I’m sure you’ll like it. Celestial Strings, as Davidk58 commented, sound really good. And you can manipulate volumes, velocity, expression, etc.
It’s not in Kontakt. Syncron Player works as standalone application and as VSTi
I prefer static sounds, but more flesh elsewhere, than making a monster from Scaler.
More melody options, larger patterns, possibility to build an entire song by sections (verse, chorus, bridge, repeat some sections) , this is more important to me.
Sounds are already particularly good for prototyping and most of use have our favorite high quality VSTs so let Scaler be what, I believe, it was meant to be - a kind of “chord manager”, helper to make faster and better our music.
If someone wants better sounds, I see only two possibilities: use more expensive VST, as many of us do, or make a separate, much more expensive version of Scaler, with high quality sounds. Do we really need the latter?
Totally agree, Mike.
Scaler, due to its sounds, already occupies about 800 Mbs. And, as we have already commented many times, in the end we don’t use those sounds (except for rare exceptions, like the Felt Piano, as David says).
I think that in any case there should be two options (with or without extra sounds). We usually use other Vsti that we like better, that we buy or that we get for free.
That development in what is truly Scaler is much more interesting. Those requests that we are making so that it helps us more in the creation of chord progressions.
Again in agreement.
I think the range of Scaler sounds is very good (especially for their size) , and you can use them to quickly sketch out what a piece might sound like. Once all the midi is finished off in Live I then reach for Omnisphere, Trillian, Arturia stuff and (nearly always) DUNE to find out a few things that go well together.
Ah, right. I just d/l’d it and haven’t looked at how it works.
An improved sound engine and your suggestions aren’t mutually exclusive. To be clear - your suggestions are much more a priority than an improved sound engine but improving the internal sounds allow for better interplay between some features I’d love to see implemented. Features that I think would be useful for modern producers and aid workflow.
To be clear, I am hardly complaining about Scaler’s samples. Each project I do is usually 4-5 separate pieces, and inevitably at least 2 or 3 of them include Scaler onboard samples. I prefer the strings that came with Studio 1, although I’m not thrilled with them either. My application is a bit limited - I’m not very good at expressions, so my pieces tend to sound a little flat (or, perhaps, “programmed”), so much of my frustration I suspect stems from my own limited scoring and editing abilities. But as far as Scaler goes, whatever comes next…I’m all in.
I’m experimenting a bit with the free libraries that came with VSL…so far, so good…
I also feel Scaler’s strengths and uniqueness are it’s chord management and shaping features. I always use Logic sounds, so personally prefer more focus on creative composition development and editable riffs as opposed to more sounds.
However maybe you are alluding to something similar to Peter Kay and the Korg Karma, where sounds/presets were designed to work well with parameter variations of not just notes but rhythmic filter sweeps and the multitude of GEs (Generate Effects).
If the sounds uniquely complement the creative workflow in Scaler then it could be an interesting area to explore and develop. Maybe even split it into 2 products, Scaler Chords and Scaler Sounds?
I would buy both!