Name: Abandoned Stories by Scott Johnson
Duration: 3 min 10 s
Description: YouTube Version: https://www.youtube.com/watch?v=namMw78Ipeg&list=PLlkP29Qb2m4tMvn5Z0nrfe0FivUddSRDX&index=6

Splendor of Nature

YouTube Version: https://www.youtube.com/watch?v=namMw78Ipeg&list=PLlkP29Qb2m4tMvn5Z0nrfe0FivUddSRDX&index=6

Abandoned Stories

http://www.sonokinetic.net/products/classical/capriccio/
Capriccio is our biggest Orchestral collection yet, both in terms of physical size and in terms of sound, which is just...BIG!
We had conductor Petr Pololanik approach the limits of his Capellen orchestra for these recording sessions, and the resulting energy, drive and power really comes across in each and every sample. Each phrase has been carefully treated from conception through production to implementation in the final instrument, to make sure it would work as a whole, and be as widely usable as possible.
We say it is big, and the sound is big, but as you can hear from the demos the sound has a diverse range of uses and is only limited by your own imagination. You can use Capriccio as a base for your composition, or to complement your existing piece, using only bits and pieces. It can be really loud and awe-inspiring, or gently set the mood.
If you are familiar with our previous orchestral instrument 'Grosso', Capriccio's user interface should look quite familiar. The basic structure of the instrument is the same, using 4 presets each divided in 3 layers, but there are many innovations within Capriccio that will make working with this library even more intuitive and flexible. Highlights include the 'phrase offset' slider, separate volume setting for release tails and MIDI drag/drop from the score view in the interface, straight into your DAW.
With Capriccio we’ve brought phrase-based sampling bang up to date. Throw away your preconceptions of stiff one-shot samples and use the power of the Capriccio interface to harmonise, syncopate, offset and blend every one of the 38,000 samples. We’ve wrung every bit of creativity and flexibility out of these phrases and built a bespoke interface that will allow you to do the same.
Despite advancements in sampling technology, you simply can't beat the realism of live played phrases and orchestral patterns so our goal is to make these as playable as possible, like a real instrument, with the minimum of end-user programming. These instruments are meant to stimulate your creativity, and based on the feedback we are getting, that is exactly what they do.
Please watch our range of videos if you want to know more about Capriccio’s inner workings. There are many 'hidden' features that will enhance your user experience a great deal if you know how to use them. For example, with Grosso we added 'bar sync' but for Capriccio we also added 'phrase offset’. These things are very complicated in terms of under-the-hood programming but we’re sure that the intuitive interface makes it easy to realize the potential of features like this.
All phrases for Capriccio are composed in 4/4, with straight 8th and 16th notes.
We have also included a 'runs' instrument with strings and woodwinds runs, a gorgeous and eminently playable multisampled percussion patch and a melodic percussion instrument containing Xylophone, Glockenspiel, Tubular Bells and Piano phrases.
We, at Sonokinetic BV, are very proud to introduce Capriccio to you and can’t wait to hear the amazing things you, our valued customer base, will produce with it.
Sonokinetic has established a name as one of the best value & quality sample producers and with this product we’d like to underline that statement. We stick with our unbeatable pricing module and high quality sampling.
We wish you the best inspiration and creativity. 

Capriccio Demo - Celestial Princess (feat. Elisabet Ochoa) - By Cesc Vilà

música motivacional para hacer ejercicio

And re a song

Pure ambient soundscapes for meditation and relaxation, chillout and enjoy.

PURE -  NEON

Climbing Mountains from "Electronic Orchestral Trailer" published by Justement / MYMA Music France. 

"EOT(JUST106) is a compilation of 12 unique electronic - orchestral trailer tracks for the industry."

Composer:  Michael Maas
Track Title:  Climbing Mountains
Album: Electronic Orchestral Trailer (JUST106)
Publisher: Justement / MYMA Music
Release Date:  Februrary 2016
License: Coming Soon

Facebook - http://www.fb.com/pages/Michael-Maas/...
YouTube - http://youtube.com/michimaas
Soundcloud - http://soundcloud.com/michael-maas

http://www.michaelmusic.de
info@michaelmusic.de



Climbing Mountains - "Electronic Orchestral Trailer(JUST106)"

Enjoy this brand new track that will be on my upcoming concept album. This one combines an overall calm and emotional, medieval- or folk mood with orchestral cinematic elements. The string ensemble develops the emotional climax to the end of the track and draws pictures of a wide, untouched landscape.

"The Inexistent" is available here:
Bandcamp: acheronticdawn.bandcamp.com/album/the-inexistent
iTunes: itunes.apple.com/de/album/the-ine…ent/id1121781267
Amazon MP3: www.amazon.com/Inexistent-Roman-…ds=the+inexistent
Google Play: play.google.com/store/music/album…wwop25h46ma&hl=de

Peaceful Heights

Purchase: tomasolivamusic.bandcamp.com/track/duality
License: tomasolivamusic6.webnode.cz/license/

© Tomas Oliva 2017

Duality

Earth & Beyond

Epic track with Gaby Koss' Vocals! Hope you enjoy!

The Great Beyond Ft. Gaby Koss

From the album 'CREATIONS' , composed by Paul Bjoerling & Petteri Sainio and published by Rumble Head Music.

For more information on the full release visit:
rumblehead.sourceaudio.com

Artwork: Koke Nunez

Mastering: Morris Capaldi

'Vast Beauty' - Petteri Sainio (from CREATIONS)

Scott Johnson is a composer for film, games, and other media. Also a writer and filmmaker, Scott began scoring his own films from a young age; with the idea of making movies naturally came the need for music. As time progressed, he further realized the power of the right score. Now a member of ASCAP, Scott professionally produces music for a variety of projects. His involvement ranges from student films to work from major film studios, such as Warner Bros. 

For Scott, film scoring is a process of energy and creativity. Adept at creating themes and symbols through music, Scott rewards listeners for repeated listening, especially in the case of a larger work such as an album. Scott enjoys film scoring because of this; there are a myriad of ideas in a film’s story to be represented musically. 

Every project has a unique sound. Scott not only writes music that complements the storytelling, but music that establishes the sonic landscape of a project (considering setting, characters, motivations, etc). In this case, an understanding of film is equally important to an understanding of music. While film scoring allows for a versatility of styles, a film requires music strictly linked to its DNA. For Scott, it's all about writing to this identity, exploring different harmonic languages, textures, and sounds to build an auditory story to accompany the visual one. The collaborative energy and effort involved in filmmaking has always been an inspiration for Scott. Like Christopher Nolan said to Hans Zimmer at the conception of “Interstellar”: It’s about knowing the heart of the movie. 

In addition to working with traditional, live players, Scott embraces technology in the music industry, and works at the forefront of its rapid development. With the art of sampled music and orchestral mockups, Scott focuses on achieving the greatest realism possible through the marriage of tools such as sample libraries and skills like orchestration and sound engineering. 

From the movies to personal life, music keeps everything connected. A film’s score integrates components such as character situation and landscape to reinforce a story. But outside of film, music connects people to their own stories, and to each other. Unique to the medium of music, something so personal to one person can instantly become personal to another the moment it is played. Mastering the psychology of music is a mastery of connection.

Abandoned Stories

Scott Johnson

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