Taf 2

METROPOLIS ARK 2 - ORCHESTRA OF THE DEEP
Exclusively available at www.orchestraltools.com
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METROPOLIS ARK 2 - ORCHESTRA OF THE DEEP

CLASSIC - NIGHT MODE

classic

Official Demos for OrchestralTools.com

OrchestralTools

FULL OF SOUND AND FURY -  winner of the CLIO Key Arts Award.

The Road Before by Adam King
https://innereden.com

The Road Before You

First attempt at a new piece I've been playing around with. One take, no editing, slightly dodgy upright piano. So don't be a dick about the odd fluffed note/shitty sound quality :)
Mikhail Pletnev's genius transcription for solo piano of Sleeping Beauty. What a melody...


Tchaikovsky/Pletnev Adagio from The Sleeping Beauty

Demos written with and featuring PEARL Concert Grand, a Kontakt Player piano instrument produced by Impact Soundworks!

"Fantaisie-Impromptu in C# Minor" by Frédéric Chopin - Romantic Classic

Composed by Sascha Knorr 2015 All Rights Reserved
Production & Mix: Sascha Knorr

Virtual Orchestra

Mozarella Chase

Composed by Sascha Knorr 2015 All Rights Reserved
Production & Mix: Sascha Knorr


Demo Compostion for Orchestral Tools "Nocturne Violin"

Violet River

Composed by Sascha Knorr 2015 All Rights Reserved
Production: Sascha Knorr
Mix: Tom Rußbüldt


Trailer Score for METROPOLIS ARK 1 - The Monumental Orchestra
by Orchestral Tools

METROPOLIS ARK 1 - Trailer Score

Taken from his forthcoming album 'Spells' out June 10 on Erased Tapes.

Pre-order the LP/CD/DL here: www.erasedtapes.com/store/index/ERATP085
iTunes: http://snip.ftpromo.net/spells
Spotify: http://snip.ftpromo.net/goldentimes
Bandcamp: http://snip.ftpromo.net/spellsbc
or any other good record store worldwide

"It's just incredible" – Mary Anne Hobbs, BBC 6 Music
“Strangely upbeat nocturnes" – The Wire

‘Spells’ merges programmed piano pieces with live instruments, combining the controllable technical world and the often unpredictable aspects of live improvisation. In some ways it continues where his underground debut ‘Gravity’ left off, though a lot of weight is lifted, making room for a lighter and more energetic listen. Friend and fellow Erased Tapes artist Nils Frahm mixed and mastered both albums. Ben is not a master pianist like his dear friend, but his sound collages are so meticulously designed that after hearing the result an impressed Nils declared: “from now on, if anyone asks – this is a real piano”. 

His intricate, humanised programming – enhanced by drummer Achim Färber, cellist Anton Peisakhov and harpist Lara Somogyi, and a considerate selection of echoes, delays and compressors – has been used to create a hybrid sound that intends to deceive, question and challenge existing listening habits. Utilising the contrast between reduction and decoration, ‘Spells’ can be seen as a quest to find out how much or how little composition is required to constitute a song. Why the ear can and should be deceived about the authenticity of instruments. What significance these instruments have within this process, and why the personal perception of balance and sound exclude ultimate truths. 

Linking the two albums are the four movements of ‘Nocturne’, an ever-developing conversation that on occasion flirts with the grandeur of compressed rock drums. The first single, ‘Golden Times 1’, received a world premiere by BBC 6 Music’s Mary Anne Hobbs, proclaiming it as "incredible." An alternative version of ‘Sleepers Beat Theme’ – composed for the soundtrack to a short film about the Trans-Siberian Express – opened Jon Hopkins’ Late Night Tales album from 2015, who noted “I thought it was such a calming and sensitive piece that sounded to me like the beginning of something...the warmth and depth of the sound entrances me every time”. 

Though ‘Spells’ and ‘Gravity’ are his first albums recorded under his own name, as acclaimed electronic producer HECQ he’s released nine albums since 2003, exploring everything from ambient to breakcore. He has simultaneously established himself as a trusted composer and sound designer, working for a wide array of clients including Amnesty International and Marvel Comics; composing for feature films, games, art installations and convention opening titles.

After embracing this demanding line of work, in 2010 Ben felt the need to explore his roots and early education, which inspired these albums under his own name. Born in 1981 as the third child of opera singer Deirdre Boysen and actor Claus Boysen, his classical music training on piano and guitar began when he was seven years old; the works of Bruckner, Wagner and Bach laid an important foundation. Rediscovering this music shared with his parents – united with the sounds of Autechre, Cristian Vogel and Jiri.Ceiver to Pink Floyd and Godspeed You! Black Emperor – brought back an understanding of why he wanted to write music in the first place.

“Finding my views understood, reflected and welcomed by Erased Tapes was an encouraging experience, crowned by the offer to release ‘Spells’ and re-issue ‘Gravity’ with them. Through many caring conversations with Robert I felt that there’s no better home for the existing ideas and no better cradle for new ones.”  – Ben Lukas Boysen 

TRACK LISTING:  	

01. The Veil  02. Nocturne 3  03. Sleepers Beat Theme  04. Golden Times 1
05. Nocturne 4  06. Keep Watch  07. Golden Times 2  08. Selene

Spells

Golden Times 1

Buy LP/CD/DL

Ben Lukas Boysen – Golden Times 1

Veteran Erased Tapes recording artist Peter Broderick set to release new studio album 'Partners' on 19th August 2016.

Order it on LP/CD/DL here: www.erasedtapes.com/store/index/ERATP088

In an email to Robert on February 3rd 2016: 

Dear Robert.

There’s a lot I’d love to tell you about this music.

The inspiration really came when I decided to learn to play John Cage’s In A Landscape on the piano . . . I listened to a recording I had over and over again, five seconds or so at a time, picking out every single note. Then cross referencing what I’d learned with other versions of the piece as well as the original score. The feeling of playing this piece really brought me close to the piano again, and brought new life to my own piano songs.

Beyond Cage’s music, his life and practice have interested me more and more, after having read about his love for foraging wild foods and using chance operations to compose music, in a sense taking his ‘self’ out of the music. I love his so-called ‘mesostics’ and began to write several poems using that method, around this phrase:

I    
N

A

L
A
N
D
S
C
A
P
E

When it came time to record in the studio, I rolled two dice to decide how many poems to read. I rolled 5. Then I assigned a number to each poem and rolled the dice to see which five poems would be read and in which order. That’s the first track Partners, which is also the last word of the last poem I selected through this chance-based process. Track two is my version of In A Landscape. I love playing that piece so much. Carried  is a piece I wrote in Berlin which I’ve played live from time to time. There was a soft vocal loop playing out through an amplifier in the room while I played the piano.

Under The Bridge is my first ever chance-based composition, written by assigning different numbers to different notes and then rolling dice to decide in which order to play those notes. Conspiraling is another piece I’ve been playing for a while. Actually a version of this was recorded in the session that became ‘How They Are’, but it didn’t quite feel right. I like to pretend my voice is like a synthesizer in this song. Then there’s Up Niek Mountain which is a piece I finished composing while in residence at a farm in the Netherlands back in 2010, and is named after one of the family farmers there, Niek, who passed away shorty after I was there. We miss you Niek. The last song is a cover of Brigid’s Sometimes. Brigid to whom I dedicate this recording.

And then there’s Tucker, Mr. Martine, who agreed to record this album without me ever hearing the mixes. We talked about all the sounds and he set up several devices with which to manipulate the sound live, as it was being recorded and mixed down to tape. Francesco also agreed to master the record without me hearing it. I like to imagine maybe one day, five or ten years from now, I’ll walk into a café or roadside diner and hear it for the first time, playing as background music while people eat.

OK surely that’s enough for now! Sorry for blabbing, Robert. Your support has really meant a lot to me. I’ve loved having you in mind while working on this project, knowing it could very well have a home on your sweeeeeet label. Hope all is well.

With love,
Peter

Partners

Carried

Peter Broderick - Carried

My remix of '00:26' by Ólafur Arnalds & Nils Frahm is now available on 
https://erasedtapes.bandcamp.com/album/erased-tapes-collection-viii
Taken from the album 'Trance Frendz' · www.arnaldsfrahm.com

Ryan Davis on Facebook: www.facebook.com/ryandavissound/
Ryan Davis on Instagram: www.instagram.com/ryandavismusic/
Booking under booking@ryandavis.de

Commencing the 10th anniversary celebrations with a free compilation entitled Erased Tapes Collection VIII, Erased Tapes also welcomes the iconic Penguin Cafe to the roster amongst tracks from new signing Daniel Brandt (of Brandt Brauer Frick) and Peter Broderick’s duo project Allred & Broderick. It also includes recent compositions by Rival Consoles, A Winged Victory For The Sullen, Ben Lukas Boysen, Douglas Dare and Immix Ensemble & Vessel, as well as a previously unreleased soundcloud.com/ryan-davis remix of Erased Tapes stalwarts Ólafur Arnalds & Nils Frahm which was recently favoured by Aphex Twin and an exclusive edit of Woodkid & Nils Frahm’s score for JR’s Ellis, with spoken words by Robert De Niro.

The Story before: 

When i heard the Album Trance Frendz of Olafur Arnalds & Nils Frahm for the first time, i directly felt a connection to the song they both started together at 00:26. The fine textures of the synths and the subtle evolution in this one-taker brought up the idea of having a version i can play in the late nights on the dance floor but which also would work perfectly for listening in your comfort zone. 

The drums and way of how the remix should flow came naturally and as i had the song standing i layered the original stems here and there to have the track playing in some kind of canon. As i was very happy with my personal version i sent it out to https://soundcloud.com/olafur-arnalds, https://soundcloud.com/erasedtapes & the rest of the participants of this project. Gladly Olafur picked up my remix and forwarded the song to the label which lead to having this unofficial version approved to share with you out there. I hope you like it and thanks to Erased Tapes and all involved for the support :)

More

Ólafur Arnalds & Nils Frahm - 00:26 (Ryan Davis Rethink)

Taken from their forthcoming mini-album 'Ellis' out July 8 on Erased Tapes.

Pre-order the LP/CD/DL here: www.erasedtapes.com/store/index/ERATP086
or from iTunes here: http://snip.ftpromo.net/ellis

For the first half of the twentieth century, Ellis Island stood as the gateway to America. For some twelve million people, it was their first encounter with the land they hoped to call home. 

Directed by acclaimed artist JR, ELLIS tells the story of one such migrant. Starring Robert De Niro, the film winds its way through the crumbling hallways of the abandoned Ellis Island hospital complex, now home to JR’s Unframed art installation. It’s a place that reverberates with the hopes and fears of those who passed through it, the echoes especially resonant today.

Entwined with the narrative is a score composed by Woodkid, performed and co-written by Nils Frahm. The delicate piano motifs of Winter Morning I culminate in a crescendo of strings, while the harmonium swells on the B-side are the foundation for De Niro’s narration: an encomium for those who shaped modern America. 

There’s perhaps never been a more fitting time for this story, with all the proceeds going to the Sea Watch initiative, a non-profit charity dedicated to the protection and rescue of civilian refugees. 

Following a screening as part of Nils’s Barbican Weekender, the ELLIS score will be out July 8th, the same week as America’s great federal holiday. It will be available via Erased Tapes as a mini album on CD, vinyl and in digital format containing a 12-page picture booklet.


IN THE ARTISTS’ OWN WORDS:

Nils Frahm: ‘The opportunity to work on JR´s fantastic short film ELLIS came through my good friend Yoann aka Woodkid. We agreed on recording the piano parts in my studio in Berlin and so it happened that JR and Woodkid were guests at Durton studio on a wonderful late summer day in 2015. We managed to record all the crucial elements that day. The music fell in our laps and melted with the images: a wonderful experience. The film has stuck in my head ever since; it moved my heart and changed my soul.

A couple of weeks later I had to cancel a trip to Brussels because of a terror warning; all events got cancelled and I stayed home, having an unexpected day off. I felt rather depressed that day, thinking that the Europe I knew was already gone. I sat down at the harmonium, listened to Robert De Niro’s voice and played for the rest of the day. The result is ‘Winter Morning II,’ the B-side of the ELLIS soundtrack release.

Robert says it all in 17 minutes. We are not facing a refugee crisis. We are facing a crisis because we do not embrace, we do not sympathise and we cannot give up fear. Art can encourage so I hope this project will help fight the fear in all of us.’

Yoann Lemoine, aka Woodkid:  ‘Ellis is my second collaboration with JR after the New York City Ballet piece for Les Bosquets. I initially wanted this piece to sound like it was recorded on an old piano that we found in the ruins of Ellis Island, in the restricted area that is not open to the public, where JR pasted the pictures on the walls for the film Ellis.

I had worked with Nils before and I wanted him to create a sound for this piano part that I composed that was extremely gentle and organic. I wanted the listener to hear the mechanisms, the breathing of the instrument. I wanted it to be imperfect, to sound like a ruin, a trace, an echo, the way the pastings on the walls seem to be ghosts, almost imperceptible.

After a few rehearsals, Nils stripped down my piano parts and we removed almost all orchestration around the piano. He then worked on the extended version that is his interpretation of my piece, with Robert de Niro’s vocals.

Because this film and this recording is historically meaningful, it was important for us to create this piece as an echo to the immigration situation in Europe, and decided to release it in support of Sea Watch.’

Ellis

Winter Morning I

Woodkid & Nils Frahm - Winter Morning I

out now 

https://www.beatport.com/release/city-echoes/1794736

VIS290 - Nuage - Moment After Moment

Demo composition for Berlin Brass by Snorre Tidemand.
The following Orchestral Tools Collections have been used:

- Berlin Brass Main + EXP C
- Berlin Strings Main + EXP E
- Berlin Woodwinds Main + EXP A,B
- Berlin Percussion Bundle
- Metropolis Ark I
- The Orchestral Grands
- Orchestral String Runs
- Symphonic Sphere

And...Action! (Snorre Tidemand)

Official METROPOLIS ARK 2 demo by Benny Oschmann.
Made with METROPOLIS ARK 2 only!
www.orchestraltools.com

Through The Dark Woods (Benny Oschmann)

Official METROPOLIS ARK 2 demo by Ben Botkin.
Made with METROPOLIS ARK 2 only!
www.orchestraltools.com

The Upward Call (Ben Botkin)

Official METROPOLIS ARK 2 demo by Adam Hochstatter.
Made with METROPOLIS ARK 2 only!
www.orchestraltools.com

Sigmund's Final Wish (Adam Hochstatter)

Sascha Knorr made this piece for the METROPOLIS ARK 2 Prologue-Video.
Only METROPOLIS ARK 2 is used in the demo!
www.orchestraltools.com

The Prologue (Sascha Knorr)

Official METROPOLIS ARK 2 demo by Snorre Tidemand.
Made with METROPOLIS ARK 2 only!
www.orchestraltools.com

Hymn Of The Season (Snorre Tidemand)

Music by Bill Brown

Website: https://billbrownmusic.com

Follow Bill on:
Instagram: https://www.instagram.com/billbrownmusic
Facebook: https://facebook.com/BillBrown.music.compose­r

The Seventh Seal

Part of my score for "The Heart of Man"

Additional Programming: The One and Only James Everingham
Strings: Recorded at Slovenský Rozhlas in Bratislava, Slovakia 
Engineer: Peter Fuchs 
Conductor: Johannes Vogel 
Music Supervisor & Orchestrator: Brandon Collins 
Copyist: Paul Nelson 
Pro Tools: Josh Auer, Chad Wahlbrink & Jordan Critz 
Orchestral String Mix: Satoshi Noguchi 
Solo Violin Performance: Elizabeth Varnado
Vocals: Timbre Cierpke 
Album Art designed by Austin Eidson: austineidson.com

This song is available for licensing through the Music Bed: www.musicbed.com/artists/tony-anderson/7054

The Heart of Man

Darkest Night

Darkest Night (feat. James Everingham)

Official demo for Berlin Orchestra Inspire by Sascha Knorr.
All you hear is made with Berlin Orchestra Inspire.
www.orchestraltools.com
www.facebook.com/orchestraltools

Inspire (Sascha Knorr)

Official demo for Berlin Woodwinds Revive, made by Snorre Tidemand.

Norwegian Folktales (Snorre Tidemand)

Official demo for Metropolis Ark 3 by Sascha Knorr.
This demo is made exclusively with Metropolis Ark 3.
www.orchestraltools.com
www.facebook.com/orchestraltools

Infernal Machine (Sascha Knorr)

Official demo for Metropolis Ark 3 by Craig Sharmat.
Except for one string patch from Metropolis Ark 1 everything in this demo is made with Metropolis Ark 3.
www.orchestraltools.com
www.facebook.com/orchestraltools

Meatball Surgery (Craig Sharmat)

Official demo for Metropolis Ark 3 by Helge Borgarts and Thomas Stanger. The music is exclusively made with Metropolis Ark 3.

www.orchestraltools.com
www.facebook.com/orchestraltools

Mice Chasing Dragons  (Helge Borgarts & Thomas Stanger)

Official demo for Berlin Strings First Chairs by Sascha Knorr.
The music is exclusively made with Berlin Strings First Chairs 2.0.

www.orchestraltools.com
www.facebook.com/orchestraltools

Flying Across The Gallery (Sascha Knorr)

Official demo for Berlin Symphonic Harps by Benny Oschmann.
www.orchestraltools.com
www.facebook.ocm/orchestraltools

Benny Oschmann

Growing Up Too Fast (Benny Oschmann)

Sheet music available to buy: <a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=FRT6SRLY9WDAA" target="_blank">Download Now</a>
                                   When you have completed your purchase you'll receive an email with a username and password and URL to access the PDF download. This will be sent within 12 hours of your transaction.

Melancholy piano & cello cue

Composers: Dan Cullen and Deryn Cullen
Cello: Deryn Cullen
Piano: Deryn Cullen

Recording copyright: Liquid Cinema 2012

Buy Sheet Music

Better Tomorrow

Official demo for Berlin Orchestra Inspire 2 by Lukas Kiedaisch.
All you hear is made exclusively with Berlin Orchestra Inspire 2.
www.orchestraltools.com
www.facebook.com/orchestraltools

Life (Lukas Kiedaisch)

Trailer music for the Glory Days - Big Band Horns trailer by Sascha Knorr. 
All Brass and Sax you hear is made exclusively with Glory Days - Big Band Horns. 
www.orchestraltools.com 
www.facebook.com/orchestraltools

The Band Has Arrived (Sascha Knorr)

Composed by Sascha Knorr 2020 All Rights Reserved
Production & Mix: Sascha Knorr

Demo and Trailer Composition for Orchestral Tools Phoenix Orchestra.

Watch the Trailer: https://www.youtube.com/watch?v=fNoCHYy0Y4k

Fenghuang

An orchestration of an orchestration. The second track from Daniel Licht''s awesome Dishonored soundtrack. I actually have no idea how well this is mixed because I'm not at home and using my away-from-home headphones/audio interface.

Used:
FL Studio 10, Kontakt 5, Spitfire Albion, Loegria, Solo Strings, Percussion, Harp, Dulcimer, Hg2O & Orchestral Grand Piano, Cinesamples CineOrch & DPB

Dishonored - Intro the Return Orchestra

We make high-quality sounds for professional composers.

If you’ve seen a film recently, you’ve heard what we do.