Jerry Gerber

9 minutes ago, Starship Krupa said:

I love the oboe. Nice, slightly unsettling melodies and countermelodies. If I close my eyes, I feel like I'm in an Agatha Christie mystery.

Was it a family member? One of the servants? A long-lost out-of-wedlock offspring? Everyone seems to know something they aren't telling.

Really cool.

Thanks Starship Krupa. Yeah, the VSL oboe can be very expressive. 

5 hours ago, Bajan Blue said:

Enjoyed the listen - very well put together

Nigel

 

Thanks Nigel for listening..

19 hours ago, Tim Smith said:

I enjoyed both of these.

On the first I liked the synth bass? Almost imperceptible what it actually was but I guess it was a low synth. It played well with the other part. Oboe would not have been my first choice in a compo but now you have me thinking about using it more.

The second one was equally as good in a slightly different style.

You have the VSL libraries down pretty well IMO.

-Tim

Thanks for listening Tim.  The "synth bass" is a patch from the softsynth Dune. 

Thanks steve@baselines.com for listening to this music!

Jerry

7 hours ago, Jimbo 88 said:

Hey Jerry,

Just listen to this again and had a thought. You might try adding another string library that has some "wonkyness" or character to your long strings.  The short strings and woodwinds sound perfect, not sure how you can improve on that.  Your long strings can sound "too perfect" especially when they are in octaves.  I would suggest not changing anything you do, but add something like Spitfire Audio's strings to your 1st Violins (or all your strings) at the end stage mixing process.  They have some built in tuning  and articulation issues that can sound cool at times.  You probably could pick up what you need for free from them.

I hesitate to make any suggestions because your compositions are just soooo great.

Best!

Hey Jimbo88,

Thanks for listening again and I am pleased you enjoy the composition.  The strings in this piece are the VSL chamber strings.  For the most part I am happy with their sound, but I see your point.  I think it's probably more my fault than the string library, I can probably get the sound you prefer by orchestrating the attack and release times a bit differently, or move them around the MIR sound stage (MIR is the incredible VSL convolution reverb that allows me to place an instrument anywhere on the soundstage).  Another possibility might be to de-tune the 1st and 2nd violins very slightly to increase the perception of the chorus effect.  Still another possibility is to use different sample-sets.  The chamber strings give me quite a few options in terms of long-bow strings, with and without dynamics, and I probably could explore a little more to see if I am choosing the very best articulation for the phrase I've written.   I also have the VSL orchestral, appassionata and solo strings and they all sound different.  Have you heard the VSL orchestral or appassionata strings?  They are both really beautiful, the appassionata strings have more vibrato but fewer sample choices.  In the oboe concerto I wanted a  smaller sound so I am using the chamber strings. 

I have grown reluctant to add more sample libraries to my studio.   It takes time to figure out which one to purchase, time to install it, time to learn it well and then of course there's the additional file management that becomes necessary in terms of backing up the presets I make, the configurations, etc.   I know if I gave into my equipment and software lust every time I think I should buy something new I would never be as prolific as I have been.  I know there are other superb libraries available but I feel I haven't learned VSL as well as I would like.  

When I listen to demos of other libraries I am sometimes impressed but then I listen to VSL and I think, wow, this is really good enough by any standards.  I still think the issues you point out are probably not because of the chamber strings but due to my approach to production.  

I appreciate that you took the time to offer your perspective.   There's always more knowledge to gain when working in this wonderful and exciting medium.

Best,

Jerry

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7 hours ago, Jimbo 88 said:

Really cool!  Love it! You amaze me by how prolific you are.  I really love the synth rhythms behind the orch.

What woodwinds are you using?  VSL?

 

Thank Jimbo!   Yes, the oboe (that's the only woodwind in the 2nd movement) is from the VSL Orchestral Cube.  In the first movement, the flutes, English horn, clarinets, bass clarinet and bassoons are also from the VSL Orchestral Cube.

2 hours ago, jude77 said:

That is beautiful!

Thanks for listening Jude77.. 

1 hour ago, DeeringAmps said:

Much enjoyed. Can't wait for the final installment!

t

Thanks Tom!

22 minutes ago, DeeringAmps said:

Brilliant as always Jerry!
Very much enjoyed the listen.

👍's

t

Happy New Year Tom and thank you for listening!

Jerry

Deleted..

Thank you Larry for listening.

Thanks Gary, may 2022 be a good year for you.

Jerry

If you're in the mood for a slow, leisurely, contemplative piece of music, you might want to listen to the 2nd movement of what's to be a three movement work for virtual instruments.

PLAY

4 minutes ago, Larry T. said:

Hello Jerry....once again a brilliant, beautiful composition, thank you for sharing....i find no surprise that you named this piece The Galaxies as i myself frequently look for inspiration from the cosmos....a never ending source of the unimaginable made real 🪐🎶🚀🎧 

Thank you very much Larry!  And thanks for taking the time to listen..

When I was a boy I wanted to be an astronomer but I realized I didn't have the math and physics talent to move ahead with such an ambition.  But I still love astronomy and try to keep up with the latest findings.  It will be quite a day when we finally discover that there is intelligent life in the universe--maybe we can one day become intelligent ourselves!!

12 minutes ago, Tim Smith said:

Well you sort of confirmed my hunches on film music. It would be nice to make a little $$ on a film. I never shopped that kind of work because I am a composer first and everything else is second. Film music is intended to highlight the film not the other way around. If a composition can stand alone that says something. UI did make far too many dreamy string things and I've heard far too many of them.

There are different levels of composition though. Big difference between making a string quartet and writing a lengthy symphony that real players can all play, printing out that humongous score and making sure it's all correct. The bigger challenge is probably getting someone to play it. I don't have the time right now to do the big stuff, but it's a goal for me one day.

And what will Pinar Toprak be known for- Captain Marvel. In 2040 I doubt it will mean much. I am happy for her if that's what she likes to do. So far as significance over time, that movie will fall into the pile behind a thousand others.

-Tim

True, writing a shorter piece for fewer players is different from a long-form piece with lots of players.  But I wouldn't underestimate the string quartet because the same capacity for musical development and variation exist in a 4 movement string quartet, except of course there are fewer timbres.

2 hours ago, Tim Smith said:

I just watched Pinar Toprak's Steinberg video. I guess she is the next Hans Zimmer. Probably no way we'll ever get to that level, mainly because I'm guessing she has some production help like old Hans does and a budget that allows her every tool in the box. 

Yet a small collection of VSL instruments and some musical theory knowledge and we can get our sounds to that level. as you have done here. I hope you get to use these tools for a film at some point.

Though I did mention that I originally conceived of this piece for a visual presentation, it's very rare that I have an interest in scoring to picture.  I've already scored over 750 cues for film, TV and games and found that musically and artistically it's not what I want to do.   Film scoring can pay well and there can be prestige in doing it if that's what you're looking for, but for me composition is most rewarding and challenging when  music is not governed by a story, plot or visuals.   Before film and TV a composer who collaborated in producing an opera, dance piece, songs or Broadway was entering into a true collaboration where the music determined, or played a large role in the pacing, length, style and general direction of the project.  Not so in film scoring.  Though I enjoy teamwork, I'd rather write symphonies and produce albums.   Film music seriously lacks something I love about music--the abstract nature of musical development and variation that can only be explored in composition-for-its-own-sake or in collaborations that don't inhibit that property of music.  Background music for film almost always negates that element of composition.   It doesn't have to, but the nature of how films are produced makes it so. The other issue for me, is that most films suck. When I try and watch a film these days on Netflix, about 80% of the time I watch 10 or 20 minutes of it or so and turn it off as I feel like I am wasting time, or worse, putting junk into my brain; sort of like eating junk food that titillates and seems tasty when eating it but has no nutritional value and can damage your health .  I could not possibly score a project that I think is crap, and most films are crap.  If a composer reaches a stage in their career where they can pick and choose every film they score, well, that's great for them, but in order to do that you'll have to spend all your time scoring films or looking for projects to score.  I'd be back to square one again!  No thank you!

2 hours ago, Tim Smith said:

I just watched Pinar Toprak's Steinberg video. I guess she is the next Hans Zimmer. Probably no way we'll ever get to that level, mainly because I'm guessing she has some production help like old Hans does and a budget that allows her every tool in the box. 

Yet a small collection of VSL instruments and some musical theory knowledge and we can get our sounds to that level. as you have done here. I hope you get to use these tools for a film at some point.

Thanks for listening Tim!

4 hours ago, Tim Smith said:

I can tell this likely took some time to make. Is it intended for a film? Would work well in any context for a film about the planets. The thing about using it in that context though would be having the video change when the music changes.

Nice work. Steinberg? Vienna as intruments?

 

Thanks Tim!  I originally planned this piece for use with visuals but it ended up merely as a piece of music.  Yes, the only orchestral library i use is is the VSL Orchestral Cube.  I have the orchestral, solo, chamber and appassionata strings although I don't recall offhand which ones I used in The Galaxies.

5 hours ago, Wookiee said:

Your pieces are always delight to hear @jsg,thnak you for sharing your composition talents.

 

Thanks Wookiee.  And thank you for being so helpful in regards to CW tips and troubleshooting..

3 hours ago, Tim Smith said:

Nice work Jerry. You seem to have very substantial backdrops for your music so far as direction. Well constructed parts. I could probably sympathize with you in some of those other areas. After a surgery there is the recovery and the realization that some things will never work quite the same again. If they still work at all that's a benny.

The world has always been in turmoil but we are heading into more traumatic events. I rest on the rock. This rock doesn't move. Not that life is ever easy. 

Great music!

Thanks Tim and thanks for listening..I'm actually very lucky, I had hip replacement surgery last April and I'm walking like a healthy 20 year old now.  The difference is incredible.  Hip replacement surgery has something like a 97% success rate.   I also had mitral valve (heart) repair surgery in October and that too has changed my life incredibly for the better.  No more getting out of breath or feeling light-headed.   The miracles of modern medicine are really amazing.   But you're right, aging is challenging no matter what.  Even with modern surgical interventions we're merely buying time (which I suppose is nothing to scoff at) before the eventual and inevitable end. 

1 hour ago, bjornpdx said:

I know exactly how you feel, Jerry. I wrote a song a few years ago expressing about the same.
In the daylight you think about those things on an intellectual level but at 3am they're gut level terrifying.

All the best to you in the new year.
-Bjorn

Yes, true.  No matter how well life is going--the joys, successes, relationships, happiness, accomplishments--always waiting quietly in the corner is the grief, the knowledge of our mortality and the mortality of everyone we care for.  Our existence in this world is impermanent and in the quiet of night we know we all must face loss and grief. Thank God for humor and thank God for grief. For without these things we'd be unbearable, insufferable little twits, thinking we're Gods when we are probably the lowest form of sentient life in the universe.  

Best to you Bjorn and happy new year...

1 hour ago, David Sprouse said:

I liked the reference to pierrot lunaire even if unintentional.  Pre dodecophonic schoenberg would really relate to this composition.  Verklaerte nacht...etc  This was wonderful.

Hi David!  Thanks for listening to The Galaxies.   I hadn't thought of this piece as dodecaphonic or Schoenbergian, in fact I gave up trying to write serialized music many years ago, but I guess there is enough chromaticism in the piece to warrant that association.   I'm really glad you enjoyed listening!  Happy New Year to you,

Jerry

In celebration of the launching of the new James Webb Space Telescope (JWST).

The Galaxies

2 hours ago, Larry T. said:

Well done Jerry....choirs/chamber choirs aren't used much but when done right they sound great, i used them in my last song Eternity....you probably have already heard of North Sea Radio Orchestra but if not here is a link to one of their chamber choir pieces "Move Eastward, Happy Earth" an adaptation of a Tennyson poem....

 

Thanks Larry.   Lovely piece!  How was this recorded?  Any orchestral samples?   Live choir or from a sample library?  You did a good job with the orchestration, very nice feeling to the instrumentation and good integration with the choir...

You are aware I assume that my choir is virtual, it's the East-West Hollywood choir with word builder..

Best,

Jerry

p.s.  I think you're supposed to create a separate thread for your own work, rather than post it in a thread based on another's composition...

3 hours ago, jack c. said:

how did ya create strings sounds?jack c.

All my string samples are from the Vienna Symphonic Library:

 Solo strings, orchestral, chamber and Appassionata strings...