Orchestral Colours

Peter Siedlaczek`s Orchestral Colours created a new trend - the use of prepared, skilfully arranged orchestral building blocks (a similar concept to ready-to-use drum loops wich been on the market for years).

The result is a colourful mixture of hits, finales, passages, layers, atmospheres - a collection of ´mini-works´ which are playable on any key! The incredible tonal richness of a symphonic orchestra, its expressiveness, dynamic, or its ´power´, makes it the most mighty and versatile body of sound. It is no wonder that orchestral sounds have become an obligatory part of every modern musician´s collection of samples.

Reviews

Sound on Sound 2/95

Hits & Finales: 27 tracks of orchestral bombast, ranging from the full monty to section parts such as brass and strings. The prevailing vibe is popular classics/romantic. Four keys are covered per snippet, many featuring major and minor versions on the same track. The odd diminished crops up, and track 14, `Baroque Cadence", comes up both pp and f. Towards the end of this set the mood darkens, culminating in Messianic clusters. Mood & Timbres: 14 tracks of atmospheric parts, such as piano arpeggios over shimmering strings and slow string runs over pulsing timpani. Again, there are at least four samples per a track. Conclusion: At last, a Siedlaczek product that doesn`t require 128MB of RAM! Orchestral Colours is chock-full of orchestral building blocks. Credits include 100 pages of scored elements, orchestrated by Marcin Pospieszalski, taking their cue from the likes of Debussy, Dvorak, Tchaikowsky, Karlowicz, Mussorgsky and Mahler, and the world-renowned Moscow-based Mosfilm orchestra, conducted by Konstantin Kremintz. Recording was done in Mosfilm concert hall, and the CD took nine months to prepare. It was worth the effort. You have never been able to access such usable orchestral realism so cheaply before. Recording quality is immaculate, with the large concert hall imparting a muted reverb and neutral frequency bias, resulting in a clarity and accuracy of tonality coupled with a sense of acoustic space and perspective. Film and TV companies are already mining this particular vein of audio excellence - so if you`re looking for an off-the-shelf orchestration, get in there quick before someone else beats you to do it! Review: Orchestral Colours(by Peter Siedlaczek)   Sound on Sound 2/95Hits & Finales: 27 tracks of orchestral bombast, ranging from the full monty to section parts such as brass and strings. The prevailing vibe is popular classics/romantic. Four keys are covered per snippet, many featuring major and minor versions on the same track. The odd diminished crops up, and track 14, `Baroque Cadence", comes up both pp and f. Towards the end of this set the mood darkens, culminating in Messianic clusters. Mood & Timbres: 14 tracks of atmospheric parts, such as piano arpeggios over shimmering strings and slow string runs over pulsing timpani. Again, there are at least four samples per a track. Conclusion: At last, a Siedlaczek product that doesn`t require 128MB of RAM! Orchestral Colours is chock-full of orchestral building blocks. Credits include 100 pages of scored elements, orchestrated by Marcin Pospieszalski, taking their cue from the likes of Debussy, Dvorak, Tchaikowsky, Karlowicz, Mussorgsky and Mahler, and the world-renowned Moscow-based Mosfilm orchestra, conducted by Konstantin Kremintz. Recording was done in Mosfilm concert hall, and the CD took nine months to prepare. It was worth the effort. You have never been able to access such usable orchestral realism so cheaply before. Recording quality is immaculate, with the large concert hall imparting a muted reverb and neutral frequency bias, resulting in a clarity and accuracy of tonality coupled with a sense of acoustic space and perspective. Film and TV companies are already mining this particular vein of audio excellence - so if you`re looking for an off-the-shelf orchestration, get in there quick before someone else beats you to do it!