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| "War Game Suite" Op. 17 by zeroAcademy | 9 months ago |
| Thanks again mate. I agree there are a lot of possible improvements and fixings.. Will be the starting point of co-operation with an eventual Director for a live execution, or, for an adjustment in case of re-recording for a project, e.g. a ballet or a movie. It's a matter of 'detail level in production'. If needed for a serious production I will not miss it. Until that I accepted the compromise to do lot of tunes in different genres, even if not so well detailed, instead of just a few, even if perfect.. They're demos.. and that's a demos life  |
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| "War Game Suite" Op. 17 by zeroAcademy | 9 months ago |
| Thanks. Yes, I had some tracks done at the time I joined iComp then I done new things and actually stopped Generally it takes 1/2 days to do the complete job from composition to finished record, but it's just home recording.. in a studio I think two weeks of good job are enough to do a complete filmscore. |
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| Pioneer Suite Op. 3 by zeroAcademy | 9 months ago |
| Thanks. Yes, this tune was done in early 90's and the only module was the one inside the keyboard.. Nice at that time, but synthetic after good samples arrived on the scene. The story regards the hopes, risks, efforts of every kind of pioneer in life, tryin' to describe the "gold rush" that this kind of people constantly lives.. some of them falls, others succeed, along this rush expanding new frontiers in uncovered lands. |
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| "War Game Suite" Op. 17 by zeroAcademy | 9 months ago |
| Well, first of all, thanks for so much interest and dedication to my music. Your comments are deeply appreciated and I can say you catched the sensations I wanted to give; this is nice. Regarding the critics and the story itself: the starting idea was just to do a theme for a war game, but after some introduction I saw there was no theme at all and I simply stopped it there, as I felt I was going nowhere but turning around a simple intro.. So I decided to divide it in movements giving a sense to the story.. The "sea sound" is the original wind machine sound used in orchestra (a big paper or tissue stripe on rolling wheels - examples here: http://www.squidoo.com/wind_machine ) I used it because I liked this 'natural', rarely used sound and found it perfect to tell I was talking about the wind of war running over centuries.. The confused voices are Eric Persing's Choir samples (a good library with interesting vocal efx as the woooh, oooh, aaah and various screams by males and females generally used in horror movies for the sense of thriller they give out); they represent the ghosts of all times war victims. Then I started again, this time beginning straight from the melody line so I did the 2nd movement. The title has to be intended not as the chant by Heroes but OUR chant for them; is the way I underline the difference we all have to recognize between ancient honourable warriors and actual military techno-killers. The melody it's a gift (one between others) by my spiritual guides I think and it made me cry. I consider those few measures one of my highest points, if not the true one and that's really not me but the twilight zone... I have simply been lucky to hear it inside and played it. It's a short, straight declaration and I've not developed it because I think there is nothing more to say about the sense it has in the composition: ancient mithes and past legendes were not built on oil but on history. The 3rd movement starts with a sunny morning in a village: you can see a castle, normal life around, children playing, peaceful people in a growing society with hopes of a good future but it's the Last Quiet time as war is at the doors again, so the Alarm starts (Alarm: italian Allarme - ancient "All'Arme - short form of the military order "Alle Armi" - literally means "At the weapons") and you can hear, after all the happiness, the voices of screaming and running people, as they go hide in houses and the streets get void in the whole town, preparing for the battle... Then, the 4th movement exactly where you fixed it, on first Trombone sliding down: the true alarm from the sentinel tower that first sees enemies coming up on a distant road, and as they get closer the piece rises in volume and tension, until they are just at the other side of the walls and the real battle begins.. But as I titled, all this is just another Vana Gloria for those who win (in other dictionaries it's written also Vainglory, that is the same: - Boastful, unwarranted pride in one's accomplishments or qualities. - Vain, ostentatious display). That's the story. About the building: every of my compositions have been straightly played and recorded in real time on my sequencers Korg 01Wfd and Triton. I don't use pre-build loops (the only music of that kind I did is the Total Dance, entirely done with Apple loops). Normally I choose a sound and play a part: sometimes I start with rhythm, other times with melodies, but never know before what it will sound when finished as I simply try to let the ideas come through, one after the other. So I continuesly jump between parts adding here and there what I feel the general sound commands, balancing highs and basses, fast and slow, silence and full sound, especially tryin not to reason about what I'm playing, but listening to it, both inside and outside. The majority of my compositions were done just on a Korg 01Wfd with original timbres, in fact they are generally limited to 32 contemporary voices. The "Theban Suite" has been the first work done entirely on the Triton, that has more realistic sounds. In this particular case, I used a total different library of sounds, the Garritan Personal Orchestra that has a good panorama of instruments and styles (e.g. the violins tremolos and trills, the wind machine, different kind of brasses and strings, played in different ways). So I played as usual every part on the Triton, than recorded parts as single midi tracks in Digital Performer and let it pilot every track driving the signal into the GPO module with the choosen sound, recording the result in real time track by track. At the end I had all the parts recorded flat and sounding the samples, so I added with the same method the Eric Persing's Choir Library samples (soprano, tenor and various male, female, children; e.g. 4th movement, the beginning voices, oooeeeh oooeeeh oooeeeh aaahh, are complete samples played in thirds at the right tune on keyboard) Same thing for the Trombone bending: I bended it recording on keyboard than the GPO did it with the sample during recording. So, the principal job done on Digital Performer was to adjust reverb, volume and midi control 11, the expression, in every track to do the entire dynamic and let the orchestra breath; expression is a point that I often find is not considered enough by a lot of midi composers, also in iComp, and I think is the principal responsible for "fake" results. In fact, only in this tune I did it properly track by track and the difference with all my other classical tunes, timbres quality apart, is evident... the others are "stuck" and mechanic while this one flows and sounds more convincing.. I really appreciated all your analysis and totally agree on the fact that all my things could be better structured and there are lot of imperfections around, as like lot of germinal ideas deserving to be developed, but I found it's a real hard job and convinced myself that I'll do that, with some professional help too, if I'll have the chance to listen my music played by a real orchestra but I also know that moment will never arrive in my life, so... My music is "as is", like me and if it leaves out seeds able to let born beautiful flowers as your thoughts about it, well, I think I don't have to worry 'cause I already got my target and it's enough for a 'wannabe self made truly ignorant and instinctive composer' as I am.Of course, yours and others so nice words will always push me to do better. All your fine ears, especially by people who consider themselves to be quite difficult persons to please, deserve this effort and I thank you all so much. |
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| Carnival Suite Op. 10 by zeroAcademy | 9 months ago |
| I live in Sanremo, northern Italy, close to French border, Monaco, Monte-Carlo, Cote D'Azur and actually adsl goes pretty better | |
| Carnival Suite Op. 10 by zeroAcademy | 9 months ago |
| Thank you for kind critics. Yes, the way is erase this page and upload a new higher bitrate version |
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| Run Away (from you) - version 1 by artist08 | 2 years ago |
| nice job man.. why not some ostinato cellos in the ending? think about it |
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| Le Lapin Agile by zeroAcademy | 2 years ago |
| Thanks man, honored. | |
| Sand Castle Suite Op. 11 by zeroAcademy | 2 years ago |
| thank you, good music on your page too. | |
| "War Game Suite" Op. 17 by zeroAcademy | 2 years ago |
| well. thank you all; so many good things @ kristyjo: quote: "it sounds more like the background of a movie or well-made video game" you catched it man; it is exactly what was conceived for, as title says; an intro for last generation war video games. Initial woodwinds part is done with bass clarinet followed by bassoon and flute. Than, in second movement the unison by english horn and cello solo, followed by strings and a tenor voice on male choirs. About strings, may be they are not convincing and timbres are confused, especially on higher parts in last movement because i doubled them (lush and half-trillo strings together) trying to give out a sensation of "tremor", reflecting the sense of tension created by war. |
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| Prishtina by zeroAcademy | 2 years ago |
| Tnx you all for kindness. |
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| Isole by zeroAcademy | 2 years ago |
| Thank you. |
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| Sinfonia Atlantica Op. 8 by zeroAcademy | 2 years ago |
| Tnx folks |
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| "War Game Suite" Op. 17 by zeroAcademy | 2 years ago |
| Thnx mates. |
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| Theban Suite Op. 16 - GPO version by zeroAcademy | 2 years ago |
| Tnx Boss |
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| Sunrise In The Woods by zeroAcademy | 2 years ago |
| Tnx |
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| Nuvole (Clouds) by zeroAcademy | 2 years ago |
| tnx danman |
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| Bimbo Blues by zeroAcademy | 2 years ago |
| Thank you |
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| Total Dance (prologue) by zeroAcademy | 2 years ago |
| thank you guys |
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| Theban Suite Op. 16 - GPO version by zeroAcademy | 2 years ago |
| Tnx |
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| Nuvole (Clouds) by zeroAcademy | 3 years ago |
| Thanks Pete and tnx to Illuminator too; he's doing a great job with the radio. |
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| Hope Dance by zeroAcademy | 3 years ago |
| Thanks guys |
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| Ritual by zeroAcademy | 3 years ago |
| Thank you all |
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| Prishtina by zeroAcademy | 3 years ago |
| Thanks guys Yes Ananga, what I tried to give out was the idea of two different contemporary worlds.. one represents the reality in the place, and the other represents the superficial routine of the rest of the world, as it happened.. |
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| Ballerina by zeroAcademy | 3 years ago |
| Thank you all guys |
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| Kilimanjaro Suite Op. 15 by zeroAcademy | 3 years ago |
| will try.. Thanks |
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| Terre Antiche Suite Op. 14 (Ancient Lands Suite) by zeroAcademy | 3 years ago |
| Thanks a lot |
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| Theban Suite Op. 16 by zeroAcademy | 3 years ago |
| Thank you too |
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| In The Station by zeroAcademy | 3 years ago |
| eheh i think it too.. maybe because is trying to catch a train?? |
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| Academy Suite Op. 5 by zeroAcademy | 3 years ago |
| Thanks. No, no segue... When i was in the ending, after all that repeating and shifts, i felt nice to close in such a suspended way. Anyway in a compilation it would be close to another track, even if probably with a totally different style of music, with no silence in the middle, as i do practically always. Some sounds of Korg 01 were a bit fake, even if not bad, compared to actual samples.. I have to convert most of my tracks with new sounds, as the ones used in War Game Suite Op. 17, the most actual thing i did. |
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| Sand Castle Suite Op. 11 by zeroAcademy | 3 years ago |
| Tnx Maestro. |
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| Nuvole (Clouds) by zeroAcademy | 3 years ago |
| Honoured |
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| 2000 Suite op. 4 by zeroAcademy | 3 years ago |
| Thanks. You right. I always repeat myself I do too much things together or for too much time.. When I realized I was trapped in the shifting cage, the piece was ready to an end, so I left it. The chronological order of my classical tunes starts around '95 until Op. 17 done in 2006; this was done in 90s and, during years, I hope I lost a bit that tendence. |
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| Fireplace by zeroAcademy | 3 years ago |
| True. Crash cymbals on 01w were not violent at all. Yes, the guitar is keyboard played, as the rest. The very end was not intended to fade out completely but to suspend in reverb. Anyway, thanks. |
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| Ballerina by zeroAcademy | 3 years ago |
| Grazie. al contrario: avrei tanto voluto una chitarra vera, come del resto per tutti gli altri strumenti che uso, vorrei fossero quelli veri, ma mi sono sempre dovuto accontentare dei synth che ho avuto. Più che altro a distanza di una decina di anni da quando sono stati fatti, dovrei dedicarmi a ricampionare i miei brani, magari implementandoli con cose attuali, ma sono più di 200 e io sono pigrissimo. |
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| Intensive by zeroAcademy | 3 years ago |
| Thank you all. I Camel erano e sono tutt'ora bravissimi.http://www.camelproductions.com/ |
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| Festival Suite Op. 2 by zeroAcademy | 3 years ago |
| Thanks. You right; I just used 'suite' term in every classical title 'cause in Italy it's easier for copyright by CD, with no need of the whole printed score. |
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| Total Dance by zeroAcademy | 3 years ago |
| Thank you very much and thanx to Illumination Radio for the confidence in hosting a long track like this. | |
| White Wolf Suite Op. 12 by zeroAcademy | 3 years ago |
| Thanks a lot. Korg rulez! Triton and/or Karma model actually are the best keyboards ever made, i think. 01W model have been a great keyboard made in early '90s as a direct evolution of mythical T series, and both had great samples (a bit too high in frequencies, regarding strings)... But now Korg keyboards are much more cool and powerful (and expansive too  )Anyway, i always say myself i have to resample all tracks with GPO, because it's a pure synphonic library and sounds more realistic.. One of these days.. |
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| Arcadia Suite Op. 1 by zeroAcademy | 3 years ago |
| Thanks guys, glad that You like it. |
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| Arcadia Suite Op. 1 by zeroAcademy | 3 years ago |
| tnx dragon. | |
| Canyon Suite Op. 9 by zeroAcademy | 3 years ago |
| He he, thanks. Games music composition is cool.. The War Game Suite Op.17, more than this, was born oriented to that (the name refers to it also, as a possible video game soundtrack). |
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| Carnival Suite Op. 10 by zeroAcademy | 3 years ago |
| Glad for you in your part of the planet adsl runs so fast, but in Italy still costs too much to have an adsl over 2/4 Mb and its not guaranteed. So the point is not how iComp can deliver files, but how users can download them, and i consider it means emarginating people if i upload files downloadable only at high rates. In fact, as i said, for me it's impossible to hear your tunes if not waiting and waiting and waiting... |
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| Carnival Suite Op. 10 by zeroAcademy | 3 years ago |
| Thanks. After a lot of tests, i found this is the best compromise between chance to listen almost all parts with low loading time: mp3, 44,1 Khz, quality: high, 64 Kbps, mono. The result is quiet acceptable and can compress 5 minutes of music in 1 Mb. Of course there's a loss in medium/high frequencies, but the whole sound, especially on good speakers, i think is quiet good for websites use or flash, and yes, it assumes this retro mood |
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| 5/4 Riff by zeroAcademy | 3 years ago |
| Thank you all guys |
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| Solaris by MaciekDobrowolski | 3 years ago |
| very evocative. | |
| "War Game Suite" Op. 17 by zeroAcademy | 3 years ago |
| Tnx all. |
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| "War Game Suite" Op. 17 by zeroAcademy | 3 years ago |
| I considered that GPO & EP sounds deserved an AAC 128 Kbps version that rends justice to original global sound. Enjoy. |
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| Sunrise In The Woods by zeroAcademy | 3 years ago |
| Thank you very much. You know what? I found it dangerous in my iPod when driving.. 'cause I was falling asleep.. Take care please |
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| Sunrise In The Woods by zeroAcademy | 3 years ago |
| Thanks a lot |
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| Stonecrasher by zeroAcademy | 3 years ago |
| Honestly.. I consider him a genious, as guitarist and composer (Frank Gambale school), and overall is a good guy. I truly hope he will be famous in next years. |
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| Isole by zeroAcademy | 3 years ago |
| Of course, as everyone of us, i suppose... the difference is i'm the ignorant part of it.  |
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| Total Dance by zeroAcademy | 3 years ago |
| Thank You. dB |
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| BimboBluesBase by zeroAcademy | 3 years ago |
| Thanks You all. I've been asked for the grid of this tune. Here it is (* means 2 quarters each chord): Bbm7/4 | F7/5+ | Bbm7 | *B7/Db *Db7 | Gb7 | *F7/9/5+ *F7/9- | Bbm7 | *F7/5+ | *F7 (repeat all, then chorus) Gb7 | *Fm7 *Bbm7 | Ebm7 | *Fm7 *Bbm7 | E7 | *Gb *Ab | Bbm7 | *F7/5+ | *F7 (repeat all) A 128 Kbps mp3 of this base (4.7 Mb) is available here: http://www.danilobestagno.com/bimbobluesbase.mp3.zip Enjoy. dB |
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| Bimbo Blues by zeroAcademy | 3 years ago |
| Thanks You all. A 128 Kbps mp3 base of this blues (4.7 Mb) is available here: http://www.danilobestagno.com/bimbobluesbase.mp3.zip Enjoy. |
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