I agree.  This has a nice feel to it.  Simple melody with nice backgrounds

This set primarily contains samples from 8Dio Agitato Grandiose Sordino - a virtual music software instrument (VST/AU/AAX) by www.8dio.com

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8Dio Agitato Sordino: "Blue" by Ian Livingstone

Sundance - feat Romana-R

Kaleva audio - Switch

Originally composed 2021. Now recomposed and enriched for the modern world.

Reconcile D1

Featured on RSM industry releases, and also as part of RSM's public release, "Battle Angel".
iTunes: apple.co/1py8Nuo
Amazon: amzn.to/1PfVR0H
Bandcamp (lossless): bit.ly/22oGhge

Contact reallyslowmotion.com for licensing.

Supremacy - Blakus (RSM)

Groundhog

SYMPHONY SERIES WOODWIND is a collection of professional orchestral woodwind scoring tools. Each solo instrument and orchestral section was recorded in rich detail to deliver an extensive set of articulations, including special effects, arpeggios, and more. With an intuitive, feature-packed interface, SYMPHONY SERIES WOODWIND puts every nuance of these instruments at your fingertips for inspired professional scoring.

WOODWIND ENSEMBLE delivers the rich, earthy sound of a 36-piece woodwind orchestra. Each section – flutes, oboes, clarinets, bassoons, saxophones, and bass winds (contrabassoons and bass clarinets) – features six players recorded in meticulous detail for a total of 57.9 GB of content. WOODWIND ENSEMBLE features 314 articulations including special effects, true legato, and time-adjustable arpeggios. All recordings were captured from four discreet mic positions, which can be easily blended directly from the Mixer interface. Even straight out of the box, the sound is deep, full, and precise.

WOODWIND SOLO richly captures the sound of professional concert flute, oboe, Bb clarinet, bassoon, tenor saxophone and contrabassoon soloists – 33.4 GB of pristinely sampled solo instruments. The signature SYMPHONY SERIES interface provides immediate control of 148 articulations, including special effects, flourishes, and ultra-realistic true legato. It also lets you seamlessly blend dynamic layers to achieve the natural expressiveness of solo woodwind performances.

Jeremiah Pena - Faeries And Dragons - SSeriesWoodwind Bundle

Welcome To Everland

Thank you for the support of your friends! After a long time, I resumed the studio, and now I can continue to write music for you. James Joshua Otto, Alexandr Fullin, James Everingham and many other composers whose works inspired me on this path I say thank you!

Art by Benjamin Everett

Winds Of Sea

Some violins and stuff. Hope you like it.

Wavelengths

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.

Groundhog

Scott Johnson

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Cesium Sound System

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