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Hi Henry, glad you enjoyed! I'm fairly sure about the high Bb, i'm picturing it being sung in a thin voice so that may offset some of the drama

Sounds like an articulation mapping problem. VSL will fix it, I'm sure. Product support is good, and they are intent on breaking into the entry level VST market....

Here is a better score

Thankyou for this "REAL-WORLD" review, as opposed to these current "Company paid reviews" example : " Its Amazing...Its Awesome...Its a No-Brainer ". .................Yeah you'd have to have no brain to believe it. Its only when you Trial these Personally, like you have............That you Discover the Real-World review. Iv included a mini-Selection of Brass sounds, thats currently used in a Restricted Software,thats in Alpha/Beta testing But most people know the difference between a Piano and Trumpet.....................its impossible to re-invent the Wheel.

I took the liberty of writing a short composition to test the different capabilities of the new Vienna Brass sounds from Musegroup, in collaboration with Vienna Music Library. My first impression was that the French Horn sounds, all of them, were FAR too quiet. I was forced to add a compression FX to it, cranked up quite high, with a +3.0 Gain just to hear it through the rest of the ensemble. But I think I got the sound dialed in just right here for the video. Figured I'd do everyone a favor and make a quick demonstration and provide my thoughts on it. Overall, I'd give the plugin a 5/10, in it's current state. I know its still new, so updates are likely on their way at some point in the future. Attacks on each instrument, as you'll hear, are a bit odd, and sort of like there's an accent or marcato mark on each note, except not as pronounced? I hope that makes sense.. lol I also noticed that when using Accents, they're either flat out ignored at times, or, they're over accentuated, to the point the instrument plays a "blat" rather than an accented note. Or, at lower dynamic volumes, they will be played as if it was notated "fp" just underneath it? Weird.. However I must say, it's WAY better than my previous experiences purchasing sound packages from MHub. CineBrass from MSounds, and Berlin Brass from MSounds were ABSOLUTE TRAIN WRECKS when I tried them out, a couple months after they released. Buggy as all hail, would randomly pitch bend notes longer than a dotted half note, or just outright play everything completely out of tune. (I have a demo vid somewhere that even shows that issue, I think... Can't recall what I did with that, but all you needa know is that it was HORENDOUS lol... This is a vast improvement that brings me some hope for future additions to the MS Library store. 🙂

Yeah, had issues with that in the past too. I didn't notice it on the initial export. It may have been I never even listened to it... lol But typically exporting as a .WAV then converting it was a good fix for me when it was a major issue.

Henry, very fascinating, there seems to a wide range of musical tastes among people I know, since my friend back home said his favorite poem was no 2. I think poem 1 is perhaps the least satirical although it is in a more traditional vein. As of now, I am not sure which style to choose to preserve my compositional voice. Thank you for your comment, as always.

Hello @Henry Ng Tsz Kiu, The modulation felt natural to me when I was improvising this piece, so I included it, and glad you love it:) Also, to be honest, I intentionally made the left hand part like that for most of the piece to complement the recurring dotted half note-quarter note pattern in the right hand, and to try to make the tune more memorable. Thank you so much!(: ~Frank

Yo Vince! Yup I love solo wandering in recent months, it helps me get in touch with reality much more and inspire myself. I won’t be able to finish the Sextet without visiting different places! Yeah the set will be finished with the most dumbass piece of the set lol! Henry

Hey @Mooravioli! I don’t consciously use the themes and folklore of HK but maybe I subconsciously did so, just like the Sextet! For the list of techniques you find, I just use them because I feel like the music need it haha. I love that main melody of 2nd theme too. For me, maybe if I don’t care those 3 things I would easier show them out, because only someone lacks them seeks them. Only if you have something original to say in your music it will be original, not the vice versa. Henry

Yo Arjuna! Yup I definitely learn from that 2nd movement of that random music for the pentatonicism displayed here! The Joke would be just a really straight forward daddy joke I guess lol! Henry

Hi @user011235! I love the motive you quote as well! Henry

Yo Peter! I don’t force myself to imitate Debussy though, his influence however must show in this. I am stupid in those errors, b.49 it should be Eb in LH, b.54 an Eb. These errors happen because I didn’t update my score after recording and nuancing the details lol. An additional error would be in b.45 when I erroneously played a C instead of F for right hand. It happens because it’s a manual playing error lol. Yeah it’s a norm for me to combine ideas together simultaneously haha, and those imitations are deliberate! I love the canon too, it’s the thing I can’t do 10 years ago! Henry

Hi @Ferrum! Thx for your comment! That’s the first time I have seen you dropped comments on my works haha! Yup I wanna try a bit of the tonic pedal effect, maybe even a bit bitonal for a G pedal under an Ab major chord.That freaking quartal chord in b.33 is just a sudden thought when I reached that passage to modulate, and weirdly it works! I love that b.35 LH theme too, it’s a product comes from 10 years ago! The counterpoint in b.55 is new though, because I won’t have the technique for the canon LoL. I love the ending as well, I think a tonic chord ending would ruin the piece by sounding a bit too confirmed. I love you love the piece, thx for that! Henry

Hi Mike! You said that before for the pentatonic scale haha! Thx for your comment! Henry

Hi @guy500, You may check out @pateceramics’s vocal works, she makes great use of vocal samples there. Henry

Hi @user011235! The use of D minor reminds me of Brahms’s Lied on death, op.121 no.1: I like the first sentence with the repeated A, it depicts the stillness of death well. The ending of A and then lower an octave and then a fifth sounds a bit difficult for the vocalist for me. For me, maybe I would use C sharp instead of C natural in b.46. Thx for sharing! Henry

Hi @Frank Normandy! I love the simplicity and melancholy of the music! I love your modulation to C minor in 0:49 and a bit suspension! Moving up an octave for the melody is quite effective for me! Maybe for me I will change the left hand accompaniment for the latter part of the music, but that’s personal because it works absolutely fine here as well, giving the simplicity you wanna achieve! Thx for sharing! Henry

Hey @PCC! I am very grateful you have made this organ arrangement of my Moment Musical! I actually love the version you sent me before when the 1st theme is played by prinzipale, but for the 2nd themes I love your usage of different colours here more! I love that you add much more colour in your arrangement, while my original piano version is more contemplative and personal, here is more grand and colourful! Also I love your slight change of passages, for example b.32 and b.38 to 41. In fact the change of melody in b.32 is also suggested by a viewer on YouTube, I think the change is great! Though my original intention is to remain introspective with a lower arch of melody, here it’s more melodic. And I love your arrangement in b.34 to 41, very effective in organ, and in b.38 changing from original Bb minor to Eb minor add some varieties too. Thx very much for your arrangement. I deeply appreciate it! Henry

CHOPIN ETUDE OP.10 NO.3 TRISTESSE ...................No Piano

Hi Peter! I play it, but my piano is really bad with dynamic control and at such a quiet dynamic it's impossible to voice it properly with consistency :< So 8va means "Ottava" and can mean above or below depending on placement. It does not mean octave above. 8vb means "Ottava bassa" and is not a standard notation, though it's increasingly common in the United States. I think that's kind of unfortunate, because it's not supposed to be happy-go-lucky. I certainly don't hear it as such. I hear it as hopeful. I can see why it feels happy-go-lucky to you though: back and forth V-I, bouncy rhythm. Try not to think of it as bouncy though, more like the funeral march esque rhythm of the first theme. Maybe it'll make more sense that way. I actually like that idea. Thanks ❤️ Maybe. I thought the same but about the 3rd movement, which is kind of similar me too! Thanks for the review!!

i hope you can follow along with the audio, the staffs should be in a different horizontal align, but i think the notes are rendered correctly!

Hi @ComposaBoi! I know I've heard the 1st movement before but am not sure if I reviewed it. I don't hear the following chord in your performance: I just hear a Db both in the left and right hands. Also, didn't you mean to mark this as 8vb? 8vb means an octave lower while 8va means an octave higher: That aside, I find the main theme to be so happy-go-lucky in comparison to the bleak introduction! LoL I think the way you present the main theme in measure 78 is more appropriate to be the main theme proper, being darker and more suited to follow the bleak introduction. I know you said you won't be changing it but I'm going to give you my impressions nonetheless. The version of the main theme at 151 is also nice - not overly happy-go-lucky but rather, bittersweet. The version of the main theme at 220 where it is used as a modulating sequence is really good! I much prefer this treatment of the happy-go-lucky material as it sounds more developmental and suited for modulation. When you return to the material of the bleak introduction the 2nd time it sounds really empty and like the momentum of the piece just stops and falls dead (especially with the left hand staccato notes). The 2nd movement waltz sounds like it really flourishes perfectly out of the 1st movement! It really creates a lucid listening experience. The only thing that brings me out of it is the allegro furioso. I think it sounds way too fast and intense for the bittersweet mood you set with the beginning of the waltz. I like how you reference back to your 1st movement material with the molto meno mosso part. With how fast and furious this part gets it's amazing that you managed to perform it! I think bringing back the dreamy main waltz theme towards the end really releases some of the furious tension you build up with the fast tempo sections. Great job with these two movements! I'm looking forward to reviewing the last two at another time. Thanks for sharing!

Hello @Alant! To me the combination of instruments, especially the trombone and pitched percussion with the electric bass is especially reminiscent of the SimCity3000 soundtrack. It's very nostalgic to me! Great job and I was sorry to hear it end. I think the track could be continued for much longer just adding more and more instrumental forces like @Henry Ng Tsz Kiu mentioned! Thanks for sharing.

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