nanotyrano

This sounds very exciting! I look forward to seeing more of this.

I completed the survey, and I'm interesting in seeing what the final results will be.

I'm not sure if Kontakt interested you at all, but CineSamples will be releasing an ensemble based library named CineSymphony Lite on the 14th of October. It's basically a mish-mash of all the symphonic sections (apart from choir), and has the basic articulations. These include shorts (spiccato for strings, staccato for brass + woodwinds) and sustain patches (no legato), as well as a percussion kit. From the looks of it, the library seems decent. I'd personally buy each section of the orchestra instead of it, but maybe it'll be relatively cheap with all the other stuff removed.^^

Apart from Kontakt libraries being scripted specially for Kontakt, there are a few noticeable things like great audio quality with a small RAM footprint (this all depends on how the instrument is optimized however, like a normal VI). To break things down, here's how things work. Kontakt > Chosen Library > Instruments > Various Audio Effects / CC Controls can be applied. As it's currently 2 AM here (I apologize for anything that doesn't make sense, and the short-terrible explanation), the most I can recommend at the moment is to watch YouTube and use Google. Things like, "Kontak Orchestral" or "What is Kontakt/What does Kontakt do" should get you running. It's confusing at first, but once you get a basic understanding of what it is, it's smooth sailing. :)

Other members will probably answer differently, but here's my take on them.

Typically, in a modern orchestra there are four Timpanis. From what I can see, rhythm won't be a problem however the notes being played might be. From the Young Composers Wiki: If given enough time, a Timpani player can however re-tune the instrument for a new key.

In my opinion, one of the most important parts of composition is being able to convert the music you hear in your head to the piano. It's a very helpful skill, but doesn't come immediately (rather difficult once melodies become advanced.^^) What I usually like to do however when writing melodies is to look at a piano from a top-down perspective. From here, it's sort of like making lines between each notes and forming patterns. I use this most prominently when doing notation. Out of these two techniques I use, I'd recommend getting better at the first one. If all else fails, go for a walk at someplace nice. :D

Much like everyone else, I leave my old unfinished work as it is. Every so often I'll take a look at it to see what I wrote like, but I think it's best to keep it as a learning/progress document. Some things let me think, "Huh, why on Earth would I do that?". Overall it's interesting to see how much I've grown as a composer. Especially looking at old tracks that don't have mastering, mixing, or anything on them. :musicwhistle:

Although it's less detailed, they also have their Olympus Elements. Very nice sound, even if its just the tip of the iceberg. :)

First time I tried to download this (two or so months ago) I got a warning from my antivirus, so I think I'm just going to stay with Notion.

Whenever I get stuck on a piece, I leave it for a while. As I like to call it, I've run out of 'creative fuel'. I might leave it for twenty minutes, maybe a day, but once the 'creative fuel' is filled up again it hits me unexpectedly. A lot of the time I'll be browsing the Internet and be playing random stuff, and that's when I'll get the, "Oh, that sounded pretty cool!". It's a matter of time and a clear, relaxed mind. But much like what others said: look at what you have so far, pick out the best parts and base go from there.