Beautifully played, Erufailon. You are an incredibly gifted musician!
RobertT
I thought you just composed it. Most of it sounds like midi.
Did you play it on a keyboard? Can you tell us exactly what you did?
Yes, they are samples. Mostly I compose in a notation software, and edit and render in a sequencer. Sometimes I play the tracks in on a midi keyboard, hoping that it would sound more real 
I try to do this more often, but I’m a guitarist, and I can only do so much with the keyboard, so I have to stick to the simpler parts with this.
It’s realistic sound should be just as much a part of the challange, but I’m aware that I’m a really bad sound editor.
Brilliant work nevertheless 
I play symphonic stuff on a Triton, and it’s great fun to have an entire orchestra at your disposal
RobertT
Thanks. Yes it is, tho I wouldn’t mind a few more computers and a better notation software, but that would cost $s and my skills is not that top notch as for it to be worthy.
Nothing wrong with that. It’s just that most samplers don’t really capture the feel of the real thing unless you’re talking about Gigastudio and other “disk streaming samplers” with huge libraries. Even then painstaking programming and a solid knowledge of what the instruments can do is required to make a decent “fake” orchestral recording.
Playing the parts on the keyboard only help somewhat with the timing and dynamics (aside from the obvious speed of entry advantage). You still need to add in all of the little idiosyncrasies of “real instrument” back in there for utmost realism.
It’s not that you don’t have the sound editing skills, you just don’t have the means to record, edit and setup the humongous amount of audio samples needed for realism. That’s why products like Garritan’s Orchestral Libraries are so damn expensive.
As for your piece I think it’s nice, a little too traditional sounding for my taste but cool nonetheless. Keep at it! BTW what is the notation software you are using? After trying a bunch of solutions I always go back to my trusty old Atari with Notator(ancestor to Logic).
I use melody assistant, it’s cheap and can do everything I need of it.
And this is an expensive library, fortunately I got it on a sale, so it wasn’t all that very expensive as it could be (relatively). The problem is exactly a you say it needs a lot of editing of midi controllers and stuff which I am really bad at, but hope to improve. The problem is rather that I really enjoy the composing part, but I get bored quickly of editing, and also I feel that I need to improve a lot in both aspects, but I also feel that it’s a lot more important to improve in composing then in editing for me.
May I ask which one it is?
Immiscibility - very nice! I love the interplay between the woodwinds and the strings in the beginning. Question - do you want the repeated staccatos in the strings to be arco or pizz? I could see it going either way. The dynamics are very deliberately done. Are you using track volumes or velocity to achieve these? Reminds me very much of Mendelssohn.
Concerto - I like the ideas, but you can do a lot more with the piano (what can I say? I’m a Rachmaninoff fan 
). I would suggest more arpeggiation, especially in the left hand part. The accompaniment could also stand to be more polyphonic (right around 3:00-4:00, especially).
I would suggest submitting these to the “Inspirations and Aspirations” section at Classical Archives.
I vote for arco.
Bussman: EWQLSO
ray:
Thanx. It’s arco.
Actualy there aren’t that many lines because in immiscibility I felt that the orchestration was too full, so with the other one I tried to go for a light orchestration, instead of the full harmonization of the other one I tried to put a bit more emphasis rather on the interaction of simple sections. At least that was my intention, but as you probably know these things can change in the process Still, that was the reason of the less polyphonic orchestration.
Unfortunately I’m not a pianist, I can barely play the keyboard well enough to play the simpler parts, so I always struggle when I write for the piano, because I just don’t know it’s characteristics well enough. I’m much better on the guitar tho. I’m trying to practice and learn, because I think anyone who wants to consider him/herself a composer should be able to play the piano, but I enjoy playing the guitar much better for some reason, so it’s not simple
Really, thank you guys, it means a lot that someone actually thinks it was worth their while to listen to these pieces.
Cream of the crop. I hear René Dupéré from Cirque du Soleil uses that one. It’s price is coming down a bit and it’s available in several versions. Fairly easy to program, thanks to it’s NI Kompact interface. You’ll be having fun for years to come exploring that one.
After searching for some free drum samples I came up with this in about 30 mins (of which most was trying to figure out how to create good sounding drum patterns).
It’s simple, but fun (for me it was at least)
Interesting direction you’re going in. I’d like to hear something more fully developed, I like the concept.
Not really where I’m going, just a test of the drum samples. What do you think about them? Do they have the impact I would like them to have?
The bass drum is OK. The rest of the sounds suffer from “machine gun” effect. What is your sample player? Can you assign the same sample to more than one voice?
Hmm, I don’t really hear the machine gun effect, and there is not one part where a sample would repeat itself without having at least one in between.
But it is true I didn’t play with velocity and usualy assigning different velocities to the notes help with the machine gun effect.
Here is another one. This one was created for a website’s flash animation, but finaly it didn’t get used. There is no ending, because it would have been looped. It’s rather a sketch then a finished piece tho.
It’s not just dynamics, or a sample cutting itself off, but variety. It is a little obvious that for a given percussion instrument there is only one sample. most percussionist would put variety in the striking of the instrument. You could get away with assigning the same sample to other voices and tweak the pitch, envelope and filtering ever so slightly.
I know you’re not big on all the tweaking and programming but it is well worth it in the end. Gives the music “natural” sound (if that makes sense).
Actually there are about 4 different durbaka (or whatever it’s name) hits and 3 different conga hits and 5 different tabla hits in there, but I know what you mean, and I thank you, because I don’t hear that machine gun effect.
These are played back by paax2free, I suppose I could solve the problem if I get to it.
Actually I don’t mind programing, but I’d rather do it for it’s own purpose then while composing. While composing I want the most simple method, so I don’t need to focus energies on making it sound real.
Actually I want to create a guitar sample library for myself with all the articulations and stuff for paax and maybe when I get rich for kontakt 2
I’m fortunate enough to have a friend with a small studio, so I will probably be able to record his guitar (because it’s a good 7 stringed one, I just have a simpler one) on his equipment.