My 3 part Baroque Fughetta, in f minor, performed on the Rugby School pipe organ (Symphonic Organ by Spitfire Audio). 
The reverb I used is the 'Chathedral 2' preset from the Fabfilter Pro Reverb, with a reverb time of 7 seconds.
The Rugby School Chapel organ is a monstrous, 3,721-pipe, cathedral-sized organ.

My video version:
https://www.youtube.com/watch?v=y6Pix2rSS04

Fughetta - with Spitfire Audio Symphonic Organ

At first you'll hear the theme and chord progression, then there's a bunch of all sorts of variations on it.
I used a little Fabfilter 'Cathedral2' reverb to give it some more space and depth. Originally composed with Finale. I used Cubase Pro and Spitfire Audio Symphonic Organ to create this version.

My video version, with score:
https://www.youtube.com/watch?v=SzHfGGmu5lk

Adagio - with Spitfire Audio Symphonic Organ

Took the challenge; recreating the 16 bars introduction of one of my favorite Mozart adagios. Did my best to make it sound as realistic as possible2, creating more of a chamber setting. 
Using only solo woodwinds from BBCSO Pro (orchestral instrument vst by Spitfire Audio). Played all parts on a Komplete Kontrol 88 Midi keyboard, Cubase Pro quantize off, using 60% quantize correction afterwards. There's a little Room reverb (7th Heaven) and little Church Reverb for tail (FabFilter Pro-R).

Instruments:
Oboe 1 -2
Clarinet 1 - 2
Cor Anglais 1 - 2
Bas Clarinet 1 - 2
Bassoon 1 - 2
Contra Bassoon

Video version, with score:
https://www.youtube.com/watch?v=8FAXymO5WfM

W.A. Mozart - Adagio KV.361 - Mockup with BBCSO Pro Woodwinds

Intro building up to the melancholic main theme at 1:44.  Using only tweaked patches out of the legendary PROPHET REV2 synthesizer. Composed and produced using Cubase Pro. Mixed with Fabfilter and Waves plugins.

My video version:
https://www.youtube.com/watch?v=MkXgD8AeFkU

Synth WorkX 6 - with the PROPHET REV2 analogue synthesizer

Studying the Boosey & Hawkes score from the Billy the Kid suite by Aaron Copland inspired me to make a BBCSO Pro mockup from Part 1, The Open Prairie. I’m loving the open fourth and fifth character of this piece.

In my opinion making mockups from your own music seems sort of easier as there's always the possibility to stay within the boundaries of your well known safe sounding instrument patches and tweakings. Mocking up an existing piece doesn’t accept any concessions on that front. Good learning curve material so to say. 

IN DEPTH ON MY MOCKUP: 
All instruments are from the BBCSO Pro plugin by Spitfire Audio (below you find the list). I used the build-in Jake Jackson Mix 1 mic preset, adding to it about 35% close mic, 50% full spill mic and 50% Atmos rear mic, on all instruments. To give it some more body, depth and glue.

In the audio tracks rendered mix I used a send reverb chain on the sub-groups: 
1. Seventh Heaven convolution reverb, large Hall, about 50% amount. 2.20ms
2. Fabfilter algorythmic reverb, Vanilla Hall, about 50% amount. 2.80ms
Both reverbs using their build-in pre-delay, around 30ms. Both the Fabfilter send reverb and all the Spill&Atmos rear signal tracks having a insert high pass EQ cutting below 65Hz. 

Some recording floor noise I pulled out of the Appassionata Strings vst, blending it into the mix (listen closely or turn up the volume to hear it coming in at the start). I recommend using your best pair of speakers or headphones to experience the orchestral balance, depth and width. For instance; BBCSO Pro comes with only one recorded solo horn, while I needed four, so I panned and balanced four solo horns next to eachother in the spectrum, same with all the other solo instruments that are doubled or more (woodwinds and brass). Taking care also that no phase issues occur.

I like to start working from a reference track making these kind of mockups. For this one I listened to a lot of recordings of The Open Prairie, finally singled out a personal favorite;  the Colorado Symphony Orchestra, conducted by Andrew Litton. 

Instruments used, as presented in the original score:

Piccolo
Flute 1-2
Oboe 1-2
Clarinet 1-2
Bassoon 1-2
Horn 1-4
Trumpet 1-3
Trombone 1-3
Tuba
Timpani
Piatti
Bass Drum
Harp
Grand piano (The Grandeur. Native Instruments)
Violins 1
Violins 2
Violas
Cellos
Basses

Video version: https://www.youtube.com/watch?v=zWzveprqIWU

For more info on my work: https://www.jeffhijlkema.com

Be well,
Jeff Hijlkema

The Open Prairie - Aaron Copland - Orchestral Mockup with BBCSO Pro

Did this one by ear. I work with Cubase Pro 11, using Spitfire Audio instruments mainly. In this case the strings and harp from BBCSO Pro (mic 'MIX 1'), softly doubled with SA Appassionata strings (mic 'MIX 4'). Piano is The Grandeur grand piano by Native Instruments.

My video version: https://www.youtube.com/watch?v=9tKEvd--9_E

Arrival Of The Birds - by The Cinematic Orchestra - my mockup version

This 3-part suite was composed, mixed and produced using Spitfire Audio instruments only, within Cubase Pro 11.

My video version: https://www.youtube.com/watch?v=PiY1AIe4zSE
The video I created using free footage from Pexels, Pixabay and Videvo. Montage and editing in Premiere Pro.

Be well,
Jeff

www.jeffhijlkema.com

Serenus - Orchestral Cathedral Ambience

This short, full orchestral composition is composed using mainly Spitfire Audio Instruments:
- BBCSO Pro (strings, brass, woodwinds, tuned & untuned percussion)
- Albion One (strings - brass, cymbals & subhits)
- Hans Zimmer Percussion (high-mid-low)
- LABS Dulcimer
- The Grandeur (grand piano by Native Instruments)

I use Cubase Pro 11, playing most parts through a Komplete Kontrol S88 midi keyboard, quantize off.  Sometimes I aply a 60% quantize afterwards. 'Placing' the instruments in the room, concerning space, width and depth, through panning, balance, 'Haas delay' and reverb, is what helps making things sound realistic also, as you probably know. In this case I use two send reverbs on all the subgroup auxes:
- Around 50% Cubase amount of Fabfilter Medium Chamber - 1.80 sec. full mix.
- Around 50% Cubase amount of Fabfilter Amsterdam classic concerthall - 2.80 sec. full mix.

Few other tips for realistic mockups: in my experience it's all about the concept of making the samples do what you want them to do. That means automating and tweaking any given envelope untill it matches your desired sound. Some library manuals come with a list of CC# transition values, that saves time finding them yourself. Using a orchestral reference track to match your overall sound up with also helps to stay within a sound concept.

I recommend using some fine speakers or headphones to get a good stereo experience.

My video version: https://www.youtube.com/watch?v=kd_02vXNWaA

Be well,
Jeff Hijlkema
(composer/music teacher)

 https://www.jeffhijlkema.com

Orchestral Action Cue - with mainly BBCSO Pro and Albion One

Doubling multiple Spitfire Audio instruments to create full woodwinds, brass and string sections, as a contrast with the featuring solo cello. The solo cello part is just accompanied by the string section. 
Cello solo sound is the cello 'Leader' patch from BBCSO Pro, using just the legato articulation.

I compose, mix and produce using Cubase Pro 11.

Be well, 
Jeff Hijlkema

Melomania - for Cello and Orchestra -  with BBCSO and Appassionata

Hi there, for my 6-part Orchestral Suite I primarily used Spitfire Audio BBCSO Pro instruments. Some parts do get a little push from the SA Hans Zimmer Percussion library. 

On all instruments I used the BBCSO Pro build-in Jake Jackson 'Mix 1' mic setting, with about 25% of the build-in reverb. When mixing this Suite I used another 50% Cubase send signal of FabFilter's full mix 'Vanilla Hall' reverb, on just the tonal groups and about 50% Cubase send signal of FabFilter's full mix 'Rich Chamber' reverb on the percussion groups. 

I recommend using some good speakers or headphones to get a fine stereo experience.

0:00  - 1. Introduction
1:37 – 2. Waltzing March 
2:28 – 3. Galloping along
3:31 – 4. Danger on the track
4:11 – 5. Arrival! 
5:12 – 6. Reflection

6-Part Orchestral Suite - with BBCSO Pro

In this polyphonic adagio I'm using a blend of mics that come with Appassionata (close, ribbon, tree, outriggers).

Memento - adagio with Spitfire Audio Appassionata strings

In this demo I only use the legato articulation from Appassionata Strings (Spitfire Audio). At first I wasn't so sure about purchasing yet another strings library, but these strings seem to have such a deep, vibrant and emotional core, next to a smooth legato. I couldn't resist this inspiring stuff.

In my adagio you'll hear all strings, using the build-in mic 'MIX 1' preset. Release set to 70%, 100% legato offset and 10% noise floor efx. On the strings aux I use 30% amount of Seventh Heaven Mid Near Hall reverb and another 50% amount of Fabfilter Vanilla Hall reverb. All is composed, mixed and produced using Cubase Pro 11.

Yearn - with Spitfire Audio Appassionata Strings

...'Where zealous Mushtown crusaders
take their adventurous stories and
get purified by the Patron Saint'...

My Hybrid-Orchestral submission for the Ryan Leach April 2023 Composing Competition (max.90seconds music to image).

Competition organised by Ryan Leach.
Artwork 'Mush Town' by Marcos De La Sierra.
Music 'Temple of Catharsis'p composed, mixed and produced by Jeff Hijlkema.


1st Prize Winner! - Temple of Catharsis - entry for the Ryan Leach April 2023 Composing Competition

My entry for the Ryan Leach July 2023 Composing Competition. Scoring just 90 seconds, to a given image. I interpreted the image being a farewell to the West by a heroic cowboy, saying goodbye to his Canyon life.

Artwork 'Canyon' by David Frasheski; https://www.artstation.com/artwork/Xn...

Music composed, mixed and produced by Jeff Hijlkema.

Ryan Leach July 2023 Composing Competition:
https://www.youtube.com/watch?v=FK5bkPluaf4&t=0s

Farewell To The West_ My entry for the Ryan Leach July 2023 Composing Competition

Revisited my entry for the VOStringsComp23. Just some deeper automation and envelope tweaking and producing, and some re-arranging of the string parts here and there.

The contest was about composing/arranging a work for strings (max 2 minutes) using a given melody by Alex Lamy. 

Composed & produced with Cubase 11 Pro, using the following pallet:
- Appassionata Strings (Spitfire Audio) - Full string orchestra
- BBCSO Core & Pro (Spitfire Audio) - Full String orchestra & String Quintet

Reverb chain:
1. LiquidSonics Seventh Heaven - Scoring stage,  2.20 sec (-9db)
2. FabFilter Pro-R - Vanilla Hall, 2.80 sec  (-12db)

Be well,
Jeff Hijlkema

#VOStringsComp23_entry by Jeff Hijlkema_Revisited Version

Could the 'earwurmy' Slim Shady theme have survived in the German Baroque period? I produced a short string arrangement to hopefully prove it, using the following pallete; a blend of Orchestral Tools and Spitfire Audio vst's:

Short strings:
Violins 1 - Tallinn,  Miroire and BBCSO Core
Violins 2 - Tallinn
Violas - Tallinn, BBCSO Core
Celli - Tallinn
Basses - Tallin
Pizz Basses - BBCSO Core

Legato Long strings:
Violins 1 - Appassionata strings / Miroire 
Celli - Appassionata strings / Tallinn 

With the long strings I tried to approach the full and warm baroque sound of the famous Dutch Combattimento Consort, doubling the warm appassionata strings with the more icy tone of Miroire and Tallinn.

On some of the strings I used an exciter plugin to create the more characteristic thinner baroque sound.

Just before the climax I softly blended some wind instruments from the Miroire vst (baroque flute, alto recorder and baroque oboe). They return in the credits, just the three of them, together with the characteristic Tallinn organ.

On the short and long strings I used a reverb chain:
1 - LiquidSonics Seventh Heaven, Scoring stage, 2.20 sec (-9db)
2 - FabFilter Pro-r, Chapel 1,  3.52 sec (respectively -12db &  -10 db)

Arranged, composed, mixed and produced in Cubase 11 Pro.

Be well,
Jeff Hijlkema

Slim Shady Theme - Baroque cover by Jeff Hijlkema

On the 9th of February 2023 it was 5 years ago that the outstanding Icelandic composer Jóhann Jóhannsson passed away, suddenly, only at the age of 48.  This original composition is my dedication, my musical service, to Jóhannsson. With his spheric, minimalistic style, reverent idiom and musical voice  he's still a great inspiration...

0:02 - The Consolation 
3:02 - The Contemplation
5:02 - The Procession

Be well,
Jeff Hijlkema

In Memoriam for Johann Johannsson

YouTube midi event screenflow version:
https://www.youtube.com/watch?v=EudfTFz9Y2s

A few years ago Orchestral Tools released their Tallinn vst instrument. Beautifully recorded strings, choir and organ, with a strong and touching character. It instantly reminded me of some of the Arvo Part recordings I had listened to. 

In my composition Salvé I use Tallinn only; Legato and portamento long strings supporting the choir, by doubling and adding lines. Using ‘Sylabs long’ for the choir, with legato aaah’s for the soprano’s (in some fragments). This is all supported by the Tallinn 'Choir organ'. The Tallinn choir comes with just a 'female' and 'male' playable vst instrument, so I've splitted them up becoming a SATB choir, creating 4 tracks at some moments, and doing some stereo balanced panning there for placing.

Concerning the depth: In the mix I use a half of the Tallinn surround mics and some FabFilter Pro-R Reverb (Cathedral 2, my favorite). I'm a sucker for reverb. specially when composing chruch kinda compositions, creating depth, space and distance, as I feel the reverb almost acting like some sort of auditive history.

In the mix I did some push & pull EQ ‘ing on nearly all seperate tracks as well as on the auxes and masterbus, using a variety of EQ’s, all doing a little. For this ocassion I also tested out my freshly bought SSL plugin; Fusion Stero Image, that’s more of a widener, using it on auxes and the masterbus, all just a touch. 


Orchestral Tools Tallinn: https://www.orchestraltools.com/store...

SSL Fusion Stereo Image: https://store.solidstatelogic.com/plu...

FabFilter Pro-R: https://www.fabfilter.com/products/pr...

Be well,
Jeff Hijlkema

Salvé for Choir, Strings and Organ, with Tallinn (Orchestral Tools VST)

Video version: https://www.youtube.com/watch?v=bMnEm6Z97LQ&t=4s

In Januar 2018 I build my little home studio, starting to work with Cubase, sample libraries and plugins, diving into a new, interesting world, uptill then I worked with Finale and FL Studio. The very first piece I composed in this new setting then was The Gallop, using Spitfire Audio Albion One primarily: Strings long & short, Brass long & short, Darwin Percussion Ensemble (high-mid-low). Backing it all up gently with a few synth pad gems out of the Kontakt Factory Library, along with a bass and melodic patch from my Dave Smith Prophet REV2 analogue synth. The Albion One ‘ostinatum’ function is still a great feature I think. In this piece I'm using it on the short strings, driving all the way through the track. And those Brass shorts, man they sound so lively!

Now, a big 5 years later, having developed on different fronts, I revisited The Gallop; creating better audio renders, creating a new mix and a new master (the comparison is to be seen and heard at the end of the video, as well as my new master bus plugin usage and settings). 

For me Albion One still has this strong cinematic, more epic sort of feel. Really different from from the more pure orchestral BBCSO instrument recordings I’m using as my bread&butter orchestra to go to.

During my revisit I changed some of the mic settings, creating more depth and space. You can see the mic settings in the video. Did some serious balancing and EQ'ing to get rid of the muddy sound. 
On the percussion sub group I worked a lot to give it more depth, clarity and drive, using the classic Waves C6 multiband compressor, FabFilter Pro-C compressor and characteristic Waves Puigtec EQ, and the Waves L3 Multimaximizer. Finally going step by step on every track and sub group, making them sound as good, detailed and beautiful as I can. Such fun to do!

My reverb chain on the ALBION ONE sub groups (auxes) on the revisited Gallop version:
1. LiquidSonics - Seventh Heaven - Scoring stage 2.20sec, -12db to -17db Send signal
2. FabFilter Pro-R  Vanilla Hall - 2.80sec, -13db to -18db Send signal

My Master bus chain on the revisited Gallop version:
1. FabFilter Pro EQ2 – doing some general boosts and cuts
2. Fabfilter Pro EQ2 – doing only mid and side EQ’ing
3. Plugin Alliance Brainworx bx Digital V3 – doing some precision EQ’ing and 5% widening
4. Ozone Imager – Using it for just 5% widening
5. Solid State Logic Fusion Stereo Image – for 2.2db widening (above 400hz)
6. FabFilter Pro-C – Compressing just about -3db
7. Solid State Logic G Master buss compressor – A touch of compression and make-up gain
8. FabFilter Pro-L2  - Limiting -11 LUFS, and boosting master track with 5.5db 

Be well,
Jeff Hijlkema

Jeff Hijlkema

The Gallop_using Spitfire Audio Albion One primarily

I find a fine amount of inspiration in playing around with the characteristic and vibrant choirs from Orchestral Tools’ Tallinn and Miroire, soaking them in some Fabfilter 'Cathedral 2' reverb. For Mea Vota I placed a flute, flugelhorn and bass clarinet on top of the choir, all wavering their intuitive solo melodies. My template for Mea Vota:

Solo instruments:
Flute Legato // Orchestral Tools - Whisper
Flugelhorn Legato // Orchestral Tools - Whisper
Bass Clarinet Legato // Orchestral Tools – Whisper

Female Choir: 
Aah + Mmm legato – Dynamic Longs – Syllables long // Orchestral Tools – Tallinn & Miroire

Male Choir:
Aah + Mmm legato – Dynamic Longs – Syllables long // Orchestral Tools – Tallinn & Miroire

Mea Vota was composed, mixed and produced using Cubase Pro 13 using outboard plugins like Avalon 737&747, Manley Massive Passive EQ and Fabfilter EQ, Compression and Limiter.  I recommend using some fine speakers or headphones to get a good stereo experience.

Mea Vota // using Orchestral Tools instruments only

A few weeks ago I posted a version of my baroque-ish, minimalistical Motus Constantus, and after having taken some distance from the piece and listening to it for a few times the middle part started to bore me out a bit, so I revisited it and changed a couple of things.
Also the mix seemed a bit too crispy in my opinion. It became obvious when I listened to it at around 80db, the volume where there is the honest feedback of your true low-mid-high behaviour.

The bored-out thing reminded me of watching an interview with Sting (Sting at Rick Beato) about two years ago, where Sting mentioned music for him should be surprising every 8 bars, bringing something new. This is a nice simple guiding line for composing in general I think. 

In Motus Constantus I blend four different string libraries. Specially with the short strings this blend creates a unique sound and character while in this case each staccato articulation from each library has its own character, flavour, attack and release. For the long strings also ofcourse. 
Here's my palette:

Violins Longs:
Appassionata - Violins 1 - Legato
BBCSO Core - Violins 1 - Legato

Violins Shorts:
Miroire – Violins - Staccatissimo
Tallinn – Violins - Staccato
BBCSO Core – Violins 1 - Spiccato

Violas Shorts:
BBCSO Core – Spiccato
Miroire – Staccatissimo

Celli Longs:
Appassionata - Legato
BBCSO Pro – Legato
Tallinn – Legato

Basses Longs:
BBCSO Pro – Legato
Tallinn – Legato

Basses Short:
BBCSO Pro - Pizzicato

For mixing and mastering I used mostly these plugins:
Avalon: 737 & 747 (tube warmth, EQ and little compression)
Manley: Massive Passive EQ 
FabFilter: EQ, Compressor, Limiter

For Motus Constantus I was inspired by the mesmerizing late minimalistic piano works of Dutch composer Simeon ten Holt (1923-2012).

Be well,
Jeff Hijlkema

Motus Constantus // Blending four strings libraries

This is my entry for the Ryan Leach April 2024 Composing Competition.
Scoring a given picture with max 90 seconds of music. I choose to interpretate it emphasizing the beauty and consolation of Kings & Queens, up in their castles.

My entry for the April 2024 Composing Competition_of Kings & Queens (finalist)

For some decades making a Adagio for Strings (Barber) mockup was on my bucket-list and for long string plugins just didn’t match up I experienced. Times have changed and I finally went for it combining BBCSO Pro strings and Appassionata Strings, both Spitfire Audio products. The performance of Leonard Bernstein with the New York Philharmonic string players is my all time favorite cause of it’s intens expression and dynamics. Did my best to ‘conduct’ my digital orchestra with this kinda passion also. I created my mockup using the 1936 original score, with divisé parts.

I used the following mic settings within Appassionata Strings:
Close Ribbon 35%
Tree 80%
Ambient 35%
Outriggers 80%

And these mic settings within BBCSO Pro:
Tree 85%
Outriggers 70%
Leaders 35%
Close Wide 45%
Sides 40%

These 9 mics I rendered seperately per instrument in Cubase Pro, so I got complete control over them in the mix. Leaving me up with 45 mic tracks. On violins 1, violins 2 and the violas I used EQ automation on all mics for low end roll-off, getting rid of the rumble specially in the high climax part.

This mockup stringorchestra is counting 70 players in total:
Violins 1 - 24 players (BBCSO 16 / Appassionata 8)
Violins 2 - 20 players (BBCSO 14 / Appassionata 6)
Violas - 18 players (BBCSO 12 / Appassionata 6)
Cellos - 16 players (BBCSO 10 / Appassionata 6)
Basses - 12 players (BBCSO 8 / Appassionata 4)

Insert chain for both Appassionata bus & BBCSO bus: 
1. FabFilter EQ2 for little low end roll-off, mids pull and high end boost, around 1.5db
2. Manley Massive Passive EQ for character, warming the low end and little presence
3. Avalon VT-737 EQ for sophistication and charachter also. 
All just a little touch.

Send chain for both Appassionata bus & BBCSO bus: 
1. Scoring Stage - Liquid Sonics - Seventh Heaven - 2.20sec (-7db)
2. Amsterdam Classic Hall, FabFilter Pro-R - 3.30sec (-6db)

Mastering Inserts:
1.Fabfilter EQ2 Low end roll off around 20Hz
2. Fabfilter EQ2 Mids pull
3. Manley Massive Passive EQ for little 47hz and 16k boost 
4. Avalon 747 EQ  for a velvety blanket.
5. FabFilter Compressor -1.5db
6. FabFilter Limiter  -11 LUFS

It took me around 50 hours from start to finish to create this mockup.
Where most of the time went into CC automation and tempo automation.


Be well,
Jeff Hijlkema

Samuel Barber - Adagio For Strings - Mockup with BBCSO Pro & Appassionata Strings

With A Beautiful Day I challenged myself to put every instrument (coming from a lot of different instrument libraries) in the famous Air Lyndhurst Hall, as if they where recorded live all at once. Therefore I'm only using the recent released AIR Studios Reverb plugin by Spitfire Audio, using it on more or less dry instruments signals. AIR Reverb has staging control that makes you really have a say where the reverb signal is coming from and how the signal behaves in the room. I used a lot of instances of this plugin, for example for the full strings I needed five; vlns 1, vlns 2, etc. And so for all the other used instruments. It was inpsirational to treat the instruments this way, putting them in the hall. I used the pre-fader technique, sliding the dry instrument fader signal into the wet reverb signal untill I found the personal right depth and balance. Before I always have been using post-fader reverb for some reason, but this pre-fader workflow makes it feel just a bit more real in my opinion, while you really put the instrument in the place, instead of putting the place around the instrument.

A beautiful Day is a hybrid-orchestral piece using traditional orchestral instruments, a bunch of softsynths, the analogue Prophet REV2, the LABS drumkit, some synth basses, Chrysalis Harp, LABS Peel guitar, The Grandeur piano, Intimate Grand piano, and some other smaller instruments. I choose to put the hybrid instruments in the hall also, divided throughout the spectrum, choosing different depths, as if the synthesizers are are standing in the hall playing through an amplifier joining the orchestra.

With the mix and master I had the challenge to make this pretty huge diverse orchestra into something cohesive, where everything still has it’s place. Below you can fine my mastering chain. 

Mastering chain:
1. Fabfilter EQ2: for surgical EQ, low end roll off, mids pull down and little high boost, all just a few db’s.
2. Pulltec EQP 1A: just running the stereo signal through it, already gives it some little punch upwards.
3. Manley Massive Passive MST EQ: boosting low end (47hz) and high end (16k) and some pulling down at 390hz. All just a touch.
4. Avalon VT 747 sp: for a little extra boost on the low end (15hz) and high end (32khz), and pulling in the mids (500hz). And a little touch of compression, just -1db.
5. Manley variable Mu compression: doing -2db and for little vintage colouring.
6. Fabfilter C2 compressor; doing the final ‘technical’ compression, about -2 db, ratio 2:1.
7. SSL Fusion Stereo Image: for some widening and analogue colouring.
8. Fabfilter L2 Limiter: -11 LUFS, +7.5 db, -0.6 dBTP, oversampling 16x, attack and release both in the middle.

Be well,
Jeff

A Beautiful Day_The Halmeijk Orchestra Playing at Air Lyndhurst Hall

Through the years my mixing taste gravitated towards a live performance vibe, as if all instruments where recorded all at once performing in the same room, where I really tried to create the joy of making music together, all from the listening position of the audience in the room and not from the conductors standing point, resulting in a different use of reverb. Bearing this in mind I opened an older Cubase file mixing and mastering it using my developed taste in combination with my favorite mixing and mastering plugins, mentioned below. 

My Halmeijk Orchestra pallete:
Keys:
The Grandeur grand piano – Native Instruments (panned more through the middle)
Electric DI piano – LABS (panned more to the left)
Scarbee Mark 1 – Blue Ballad – Native Instruments (panned more to the right)
Vintage Organs – Basic Rock 3 – Native Instruments (panned middle-right)

Strings Legato – BBCSO Pro:
Violins 1 - Violins 2 – Violas – Celli – Basses
Mic settings: close 31% - Tree 100% - Outriggers 63%

Strings pizzicato – BBCSO Pro:
Basses - mic settings: Close 40% - Tree 100% - Outriggers 44%

Woodwinds staccatissimo – BBCSO Pro:
Flute solo – Oboe solo – Clarinet solo – Bassoon solo
Mic settings: Close 40% - Tree 100% - Outriggers 63% - Sides 35% (not bassoon)

Woodwinds Legato – BBCSO Pro:
Flute solo – Oboe solo – Clarinet solo – Bassoon solo
Mic settings: Close 40% - Tree 100% - Outriggers 63% - Sides 35% (not clarinet & bassoon)

Brass staccatissimo BBCSO Pro:
Horns a4 – Trumpets a3 – Trombones a3
Mic settings: close 40% - Tree 90% - Outriggers 50%

Brass Legato – BBCSO Pro:
Horn (1) – Horn (2) – Trumpet (1) – Trumpet (2) – Trombone (1) – Trombone (2)
Mic settings: close 35% - Tree 90% - Outriggers 70% - Sides 35% (not trombones)

Tuned percussion – Marimba – BBCSO Pro
Mic settings: close wide 80% - Tree 50% - Outriggers 50%

Untuned Percussion – Drumlabs - Native Instruments:
Drumkit Terrific Ride (panned through middle)
Agogo (panned more left)
Woodblock high (panned through middle)
Woodblock mid (panned more right)

All instruments and/or auxes where more or less processed using some of the following plugins:
- Fabfilter EQ2 (for parametric EQ)
- Pultec EQ1A (for warming and little punch)
- Avalon VT 373 sp – EQ/compressor (for character  and boost in low and high)
- Manley Massive Passive EQ (for little warming in low end)
- Renaissance Axx compressor (for little boosting the staccatissimo’s).
- CLA – 2A Stereo compressor (little boosting the individual key instruments).

Particular on the Drumlabs drumkit I did some serious processing to make it feel more alive and punchy using:
- Fabfilter EQ2 for parametric purpose
- Fabfilter EQ2 for mid/side eq
- Waves C6 multiband compressor
- Pultec EQ1A for low end and high end, and for overall boost.
- Fabfilter C2 compressor for final compression, just -2 db
- SSL Stereo compressor for analog character, just -1 db and little make up gain.

To get all used different instrument libraries in the same space and right depth I used the following reverb chain:
1. Seventh Heaven – Scoring Stage 2.20 sec. – differing from -24db to -11db.
2. Lexicon 224 – Large Hall B - 3 sec. – differing from -6db to -8db.

Exporting the mixing file I started the mastering fun in a seperate Cubase project using the following chain where all these plugins doing little pulls and pushes like -1 to -2.5 db:
 1.Fabfilter EQ2 - parametric on low, mids and high
2.Pultec EQ1A - little boost on the whole and warming.
3. Manley Massive Passive MST warming the low end 47hz and boosting high end 16k.
4. Avalon VT 747 sp, for little punch on the whole and some compression -0.5 db.
5. Manley Variable MU Compressor -1.5db
6. SSL Fusion Stereo Image, widening 1.5 db
7. Fabfilter C2 Compressor, for final compression -2.5db
8. Fabfilter L2 Limiter, -11LUFS, 16x oversampling, -0.6 dBTP

Be well,
Jeff

The Halmeijk Orchestra playing Backing You Up! - Using the Lexicon 224 reverb

Maybe you know the feeling of listening to a former track of yourself and wanting to upgrade it, improving it, using some developed knowledge together with some new mixing and master plugins. It’s what I did with my Romance for Violin & Orchestra. My former 2022 version is still to be found on my channel (linked below). 

Using only BBCSO Pro instruments in this Romance, featuring the violins 1 leader as a soloist. Made my own mic balances, that differs per instrument or section, using Close (35-40%), Tree (78-82%), Outriggers (60-65%), Sides (40%). On all sections I’m using also the Spill mics (50%). For the solo violin I’m using Close-Wide (90%), Tree (75%), Outriggers (55%), Stereo (40%) and no Spill mics

In this upgraded version I did my best to work on the solo violin performance and on improving and smoothing all the seperate instrument tracks, as well as performing together in their sections. With mixing and mastering I wanted to achieve a more cohesive orchestra playing ‘live’ on stage, where there is a dynamic balance between the soloist and the orchestra. When mixing I choose the practical standing point of the conductor, having the solo violon pretty nearby. 

This Romance was originally composed back in 2008, using Finale with Garritan Personal Orchestra 3. What a difference it is with todays music software.

My reverb chain:
1. Seventh Heaven – Scoring Stage, 2.20 sec. (-10db)
2. Fabfilter Pro-R – Amsterdam Classic Hall, 2.90 sec. (-9db to -11db)

Mastering chain:
1.Fabfilter EQ2 - parametric high-low
2. Fabfilter EQ2 – parametric mid-side
3. Manley Massive Passive MST warming the 68hz low end and boosting 16k high end.
4. Avalon VT 747 sp, for a touch of EQ colouring (low-mid-high) and little punch
5. Manley Variable MU Compressor -1db
6. SSL Fusion Stereo Image, widening 1.8 db
7. Fabfilter C2 Compressor, for final compression -1.5db
8. Fabfilter L2 Limiter, -11LUFS, 16x oversampling, -0.6 dBTP, boosting 9db.

Romance for Violin & Orchestra, 2022 version:
https://www.youtube.com/watch?v=82yfsT7UNcM


Be well,
Jeff

Romance for Violin & Orchestra_BBCSO Pro performance

Synth WorkX 1 - with the PROPHET REV2 analogue synthesizer

A 'Prophet REV2 only' composition. Using tweaked patches from the legendary PROPHET REV2 synth by Dave Smith instruments.

I use the Prophet MIDI wise as a desktop through Cubase Pro. Very handy cause you can automate all parameters from the Prophet.

Be well,
Jeff Hijlkema

Synth WorkX 2 - with the PROPHET REV2 analogue synthesizer

This TUTTI suite is composed using primarily BBCSO Pro (updated version). The percussion section does get some help from Spitfire Audio Hans Zimmer Percussion and Spitfire Audio Albion One Darwin Percussion Ensemble. The intro tuning/warming up part is also composed using BBCSO Pro.

The video on YouTube provides a little screenflow of melodic and harmonic events in Cubase Pro as well as a glimpse of my template:

https://www.youtube.com/watch?v=oBiSOA5jclo

Timecodes:
0:00​ – BBCSO Pro tuning/warming up.
0:30​ – Part 1 – All Hands on Deck!
1:44​ – Part 2 – Waltzing Wanderer
2:55​ – Part 3 – Historic Heroic
4:30​ – Part 4 – For Those Who Wait

Be well,
Jeff

#ONEORCHESTRA​
#BBCSO

TUTTI - 4 part Orchestral Suite - with BBCSO Pro

Using a wide range of Spitfire Audio orchestral instruments.
In the back you'll hear the Uilleann pipes vst by Ilya Efimov.
All is composed and mixed in Cubase Pro. 

You'll hear a intro, followed by the exposition of the chord progression, then a 4-part motive melody repeats itself 3 times, but building up, bigger and fuller. After that a B theme is presented by the brass (modulation) followed by the main theme again. The outro slowly lets you walk away from the piece.

On my YouTube channel you can find my video version:
https://www.youtube.com/watch?v=XnOFavSAOfY

Be well,
Jeff Hijlkema

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