1st Prize Winner // Temple of Catharsis // Ryan Leach April 2023 Composing Competition Jeff Hijlkema 2023-04-21 | Update 10th of May 2023: Happy to have won the competition. It was such a good experience, creating this musical story within the length of just 90 seconds. And hearing so many good pieces and interesting fragments from many other contestants, all feeding the neverending learning curve. Hearing the feedback from the judges, on all the 15 finalists submissions, was a prize also. A big thank you to Ryan Leach, Rachel Hardy, Christopher Siu and Gavin Leeper.Livestream finalists judging video: youtube.com/watch?v=UKFS3nzVWM4Conversation with Ryan Leach on my winning score: youtube.com/watch?v=Rjesn_R5eo4========================================================================My 1st Prize Winner submission for the Ryan Leach April 2023 Composing Competition. I interpreted the given artwork image as followed:...'Where zealous Mushtown crusaders take their adventurous stories and get purified by the Patron Saint'...Competition organised by Ryan Leach - youtube.com/@RyanLeachJudges: Rachel Hardy - youtube.com/@RachelHardyChristopher Siu - youtube.com/@ChristopherSiuGavin Leeper - youtube.com/@gavinleepermusicArtwork: 'Mushtown' by Marcos de la Sierra - artstation.com/musMusic: 'Temple of Catharsis' composed, mixed and produced by Jeff Hijlkema.
Run by Ludovico Einaudi // featuring BBCSO leader cello on top of original audio Jeff Hijlkema 2024-10-12 | On top of the beautiful track ‘Run’ by Ludovico Einaudi I have composed a solo cello part featuring the BBCSO leader cello, mixed into the original audio track.All copyrights for Run are with Ludovico Einaudi ofcourse and I have no commercial purposes with this video. Just felt inspired to blend in a solo cello part and sharing the result, to inspire. Thanks to Ludovico Eunaudi for creating Run and inspiring me.Be well,Jeff Hijlkema
PROPHET REV2 synthworkx ZERO // another prophet only track Jeff Hijlkema 2024-10-09 | Prophet SynthworkX ZERO was my very first ‘prophet only’ track, written early 2018, exploring my new purchased REV2 synthesizer. Strolling through my Cubase archive I stumbled upon this track, suddenly hearing what I wanted to add to get it finished. Like with most of my Prophet Synthworkx tracks I like to stack many individual layers, all doing their own thing. I'm panning them all through the spectrum, although I do put the bass more or less through the middle. In this ZERO version a lot is happening; different basses complementing eachother, the same with melodies, counter voices, arpeggios, pads and effect sounds. I used side-chain to create a little pulsing effect, and to make some room and space for specific instruments and sounds. All sounds you hear are tweaked presets from the original Prophet REV2 analogue synthesizer by Dave Smith instruments. In Cubase I've added some insert efx plugins when mixing, such as the Fabfilter EQ3 for surgical eq tasks, the Pultec EQ for warming mainly, the Avalon VT- 737 for vintage eq and little compression, the Manley Massive Passive EQ for warming mainly, the Fabfilter C2 compressor. Some of these I used also when mastering, adding also the Solid State Logic Stereo widener, the Manley Variable Mu Compressor, the Ampex 102 tape recorder and the Fabfilter L2 limiter. Overall I went for warming the synth sounds.The Avalon 747 sp plugin I used specific when mastering this track; boosting the low end at 32hz, it does a steady good job giving it some nice low-end bottom I think. Also boosted the high end at around 20Khz. All pretty much out of the hearing range, but it affects the sound to my desired result.I mainly use different EQ plugins here, all with a different character, while I know from each EQ how to get the sound that I'm looking for. When mixing and mastering I mostly dail the knobs up big time at first, then dial them back slowly to get it to the subtle change, from out of the exaggerated sound so to say. Send reverb chain used here: at first always the Scoring stage from Seventh Heaven, then either a Plate reverb from Fabfilter Pro-R or some spacey sounding reverbs out of Cinematic Rooms Pro.The video was made using free footage from pexels.com, edited and color graded using Adobe Premiere Pro, Hitfilm express and Davinci Resolve.Be well,Jeff
PROPHET REV 2 SynthWorkX 8 // a prophet only track Jeff Hijlkema 2024-09-25 | Once in a while I play my PROPHET REV2 analogue synthesizer (61 keys), just solely, going after presets, tweaking them to my likes, storing them as a user preset, and looking for inspiration to create new ‘Prophet only’ production. I bought this fabulous synth back in 2017, inspired by the Stranger Things openingstheme, by Kyle Dixon and Michael Stein. By now I’ve released 7 Prophet only songs on this channel, the so called Prophet Synth WorkX. My workflow with these productions goes as followed: The Prophet REV2 is linked to my DAW (Cubase 13 Pro) as an external instrument. That way it becomes a desktop synth. The problem is ofcourse it can only play one midi track at a time, pulling a user preset out of the Prophet. So, I’m stacking track on track, recording them one by one. So, imagine this; having about 25 separate tracks that include melody, arpeggios, ostinato’s, basses, pads, all recorded from zero till 9 minutes, repeating certain phrases. That’s a huge block of sound material all together from start to finish. Then the sculpting starts; deleting certain phrases and parts within a track, balancing, panning, fading in and out, creating sort of an intro, verse, climax, outro structure to the whole song. I see this as putting a lump of clay on turntable and start modelling it. Working on it only a few hours a day, to stay out of fatigue, specially with these impressive synth sounds that work quit pushing on my ears after a while.After this modelling I start my true mixing in terms of EQ, compression and reverb. Creating depth, width and space. Giving every separate track more of its own place in the sound spectrum. On the full climax there are about 25 tracks running, doing their unique thing, where a lot is happing left, right and through the middle (where I still place the bass mostly). I almost see it as mixing a hybrid orchestra. On certain tracks I used side chain, specially in the climaxes, te create room for other tracks and to give things more of a pulsing, almost dance vibe.I make use of three kind of reverbs; Stage, for putting all in the same place. Then space and galaxy kinda reverbs to create width and grandeur. All Cinematic Rooms, by Liquid Sonics.When mastering I went for a overall warmer, wider and deeper sound while stacking all these tracks things can become pretty harsch sounding. So, hereby I present my Prophet Synth WorkX 8. Hope to see you here for the next Prophet only song.Be well,Jeff Hijlkema
Adagio for Tallinn Strings (Orchestral Tools) Jeff Hijlkema 2024-08-26 | This polyphonic adagio is somewhat inspired by the La Follia chord structure. Originally my Adagio was composed with Finale (score featuring in the video). Last few days I’ve been attaching these notes to the lingering strings from the Orchestral Tools Tallinn vst, embraced by a little Cathedral reverb from the Fabfilter Pro-R. I like the certain density that's in this reverb sound, as if the instruments are cutting their way through the big space that’s pressing on the string sound, provoking the lingering atmosphere. Instrument palette:Violins 1 – Orchestral Tools, Tallinn violins – panned more to the left.Violins 2 – Orchestral Tools, Tallinn violins - panned more to the right.Violas – Orchestral Tools, Tallinn violas – centered left.Celli – Orchestral Tools, Tallinn Celli – centered right.Basses – Orchestral Tools, Tallinn Basses – centered. Arcticulations used: Sustain Legato – Portato long – Portato short.All is produced using Cubase 13 Pro, with some fine UAD and Fabfilter mixing and mastering tools.In most of my other video descriptions I mention my mixing and mastering plugins, also with settings.Be well,Jeff Hijlkema#orchestraltools #tallinn
Invention nr.1 for small baroque ensemble // #OrchestralTools #MIROIRE Jeff Hijlkema 2024-08-21 | When I studied at the conservatory I composed two short inventions, as an assignment for theory class. They where inventions for a violin duo. A few years ago I already arranged and posted Invention nr.2. Writing counterparts and basso continuo parts, not simply doubling the violin parts was my challenge when arranging both inventions. Last few days I had the inspiration to arrange invention nr.1, making a somewhat more busy on going arrangement where the woodwinds (blue midi events in video) run along pretty all the time. Brass (red midi events in video) playing long lines accentuating cadences mostly. The violins (green midi events in video) still feature though. All is programmed, mixed and mastered in Cubase 13 Pro, using the Orchestral Tools Miroire vst, containing baroque period instruments. This is my palette:Baroque violins (part 1 left)Baroque violins (part 2 right)Baroque viola (center left)Basso continuo – celli/bass/bassoon (center right)Baroque flute (center left)Baroque oboe (center)Alto recorder (center right)Baroque trumpet (center right)Baroque horn (center left)Next to my vast amount of favorite mix and master plugins (UAD and Fabfilter), I extra added the fresh purchased Ampex 102 tape recorder, using it for mastering. Giving a bit more glue, warmth and oempf.As a send reverb I'm using only the Fabfilter Pro-R, Medium Churchpreset, 3,5 seconds. -6db on strings, -4db on woodwinds, -2.5 db on brass.Be well,Jeff Hijlkema
2024 Cinematic Suite Jeff Hijlkema 2024-08-12 | 1. Prologue - 0:00 2. Scene 1 - 1:03 3. Scene 2 - 2:47 4. Scene 3 - 3:38 5. Scene 4 - 6:116. Epilogue - 8:46 Last few weeks I refined my 2020 Cinematic Suite, a diverse and dynamic hybrid orchestral composition. I was re-doing all the tracks, getting the best out of the instruments performances, as well as doing a better mix and master. I just love this kind of refining and adjusting, trying out new knowledge and plugins. All is composed, mixed and mastered using Cubase 13 Pro, packed with a whole lot of well known vst instruments, about 160 tracks, as well as some fine quality mix and master plugins. In most of my other recent video's you can read some specs on my most used favorite efx plugins. I created a rather static video this time, letting the music do the work more solely and thereby giving a bit more space for wandering off with your thoughts as a listener.If you like what I do please thumb-up or leave a comment in the section down below, it will sure help pushing my channel. Hope to see you here next time.Be well,Jeff Hijlkema
OASIS Jeff Hijlkema 2024-07-22 | In OASIS I make use of a hybrid orchestra, painting broad spheric strokes mostly, setting atmosphere. Here's my instrumental palette :- Violins 1, violins 2, violas, celli, basses (BBCSO Core) - Olafur Arnalds Chamber evolutions.- Kepler Orchestra Basses- Horns, Trombones, and Bass trombones (BBCSO Core and Albion Iceni) - Sopranos & Tutti Choir (Eric Whitacre Choir) - High, mid and low percussion (Hammers, Spitfire Audio)- A bunch of soft synths; using patches out of Percussion Swarm, Kepler Orchestra, Albion One, Albion Iceni and Albion Tundra. - Mosaic Synth Bass (Heavyocity)- Vocalise 3 (Heavyocity)- Solo Guzheng (Orchestral Tools, Phoenix orchestra)- Zen drum (Fracture Sounds)It doesn’t take much to notice I was inspired by the 2021 version of Dune, music by Hans Zimmer.All was composed, mixed and produced using Cubase 13 Pro, along with my favorite mix/master plugins. To name a few; the Avalon 737 and 747, the Manley Massive Passive EQ, Fabfilter EQ, Fabfilter Compressor and Fabfilter Limiter.The video was created using free footage from Pexels and Videvo. Processed and edited using both Hitfilm Express and Davinci Resolve.Please consider using a fine set of speakers or headphones to get the best sound experience.Feel free to put down your reaction or questions in the comments.Be well,Jeff Hijlkema
OASIS 2 Jeff Hijlkema 2024-07-20 | 0:00 – Opening up0:11 – Intervals 11:00 – Desert Duet3:01 – Duduk Hymne5:21 – Sad Secrecy6:02 – Antagonist Action7:00 – The Riddle8:17 – Intervals 2Last month I’ve been working on the follow-up of my OASIS. Now introducing OASIS 2. I’m using kind of the same hybrid-orchestral palette as in my original OASIS, but exchanged the featuring Ventus Bansuri for the Ilya Efimov Duduk, that has a breathtaking realistic sound in my opinion. I also added the Spitfire Audio Mercury Solar synth, for background sounddesign-ish purposes, next to some drony pad stuff. It doesn’t take much to figure out I was inspired by the music from Dune 1 & 2, composed by Hans Zimmer. Next to his unparalleled hybrid-orchestral atmosphere I even more admire the deep emotive impact of Zimmer’s music in general. The video was compiled taking free footage from Pexels, Pixabay and Videvo. Material that I assembled and edited using Hitfilm and Davinci Resolve.The music was composed and produced using my trusted Cubase 13 Pro, dressed with the following hybrid-orchestral palette:- Olafur Arnalds Chamber evolutions; Chamber Waves & Grid.- BBCSO Core – Vlns 1, Vlns 2, Violas, Celli, Basses.- BBCSO Core – Horn solo, Horns a4, Trombones a3.- Albion Iceni – Brass Low.- Eric Whitacre Choir – Sopranos, Altos and Tutti evolutions.- Heavyocity Vocalise 3 – Intervals, Vocal scapes, Phrases & Whispers.- Spitfire Audio – Mercury Solar.- Albion One - Soft synth pads; Celestion MW, Fanfare MW, The Menace (!).- Synapse Audio Software - The Legend HZ soft synth (several tweaked pads and basses).- Heavyocity - Mosaic Bass.- Ilya Efimov Production – Duduk.- Fracture sounds – Zen Drum.- Spitfire Audio – Cinematic Softpiano.- Spitfire Audio - Percussion Swarm; Xylophone.- Orchestral Tools - Time Micro, Alto flute, flutter.- Spitfire Audio – Hans Zimmer Percussion & Albion Iceni; using the drumsticks only.- Spitfire Audio – Hammers; Darbuka’s, Rototoms, Toms, Surdo’s, Warped loops.Featuring Reverbs, used solo and in chains:Liquid Sonics – Seventh Heaven, Scoring Stage, 2.60 sec.Cinematic Rooms – Rear Hall, 2.35 sec.Fabfilter Pro-R - Vanilla Concert Hall, 2.93 sec.Cinematic Rooms – Dark Tunnel, 3.27 sec.Cinematic Rooms – Galaxius, 6.51 sec.Fabfilter Pro-R – Black Hole, 12.9 sec.All was mixed and mastered using:- Pulltec EQ. - Fabfilter EQ2. - Cubase Stereo Delay, for the 'Haas-effect'.- Manley Massive Passive EQ (mix and master versions).- Avalon VT 737 & 747 (EQ & Compressor). - Renaissance Axx compressor.- Manley Variable MU compressor.- Solid State Logic Fusion Stereo Image (widener). - Fabfilter C2 compressor. - Fabfilter L2 limiter.Please use your finest set of speakers or headphones to get the best audio experience.Feel free to put down any reaction, comment or question in the section below. I’d be happy to read and answer them. Hope to see you here on my next production, that will be released in about a month.Be well,Jeff
Romance for Violin & Orchestra // Revisited // BBCSO Pro performance Jeff Hijlkema 2024-06-16 | 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 micsIn 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. In the screenflow score (the 2008 original) you don’t see the later added timpani. 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-low2. Fabfilter EQ2 – parametric mid-side3. 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 punch5. Manley Variable MU Compressor -1db6. SSL Fusion Stereo Image, widening 1.8 db7. Fabfilter C2 Compressor, for final compression -1.5db8. Fabfilter L2 Limiter, -11LUFS, 16x oversampling, -0.6 dBTP, boosting 9db.Romance for Violin & Orchestra, 2022 version:youtube.com/watch?v=DYWYLypnKKcBe well,Jeff
Remember the bespoke Westworld 2020 scoring competition? // My submission at the time Jeff Hijlkema 2024-06-03 | The upload of my Westworld 2020 scoring competition submission. That most bespoke Spitfire Audio contest that got a lot of critics because of the chosen winning entry. At the time the scenes triggered me to compose a hybrid-orchestral constant driven score, where I carefully had to sculpe my music around the dialogue, sound sfx and foley. Now, 4 years later, I think I fell into the trap of overcomposing. Would have gone more subtile these days.Used instruments:- BBCSO Pro; strings and brass.- Albion One; short strings, brass and Darwin percussion ensemble. - Albion Iceni; Celli short strings, brass and percussion.- Hans Zimmer Percussion.- Massive (soft synth).- Dave Smith Prophet REV2 analogue synth.- Stephenson’s Steam Band synth patches from Albion One and Albion Iceni. All was composed, mixed and mastered using Cubase Pro. The amazing winning submission was by David Kudell: youtube.com/watch?v=SSwWSqxuRD4
The Halmeijk Orchestra playing Backing you Up! // production info in description Jeff Hijlkema 2024-06-03 | 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 and not necessarily from the conductors standing point, resulting in a slightly 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. Backing you up! I originally composed to serve as a backing track to improvise on for a solo instrument of voice, but it developed as a track on its own.Presenting The Halmeijk Orchestra:Keys:The Grandeur grand piano – Native Instruments (staged middle)Electric DI piano – LABS (staged left)Scarbee Mark 1 – Blue Ballad – Native Instruments (staged right)Vintage Organs – Basic Rock 3 – Native Instruments (panned middle-right)Strings Legato – BBCSO Pro:Violins 1 - Violins 2 – Violas – Celli – BassesMic 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 soloMic settings: Close 40% - Tree 100% - Outriggers 63% - Sides 35% (not bassoon)Woodwinds Legato – BBCSO Pro:Flute solo – Oboe solo – Clarinet solo – Bassoon soloMic settings: Close 40% - Tree 100% - Outriggers 63% - Sides 35% (not clarinet & bassoon)Brass staccatissimo BBCSO Pro:Horns a4 – Trumpets a3 – Trombones a3Mic 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 ProMic 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 deeper 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 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 high2.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 -1.5db6. SSL Fusion Stereo Image, widening 1.5 db7. Fabfilter C2 Compressor, for final compression -2.5db8. Fabfilter L2 Limiter, -11LUFS, 16x oversampling, -0.6 dBTPIf you like what you find here please consider subscribing or leave a comment. It will help the channel to be found. Thank you.Be well,Jeff
What a difference a mix makes // re-mix & re-master of a fellow composers track. Jeff Hijlkema 2024-05-25 | If you like your track to be mixed and/or mastered just get in contact with me through inventie2000@gmail.com.0:00 – 1:33 Flight over the Castle – original mix by Tony Schöndorfer1:33 – 3:05 Flight over the Castle – new mix & master by Jeff Hijlkema3:05 – 4:36 Flight over the Castle – Back to back comparisonFellow ‘April 2024 composing competition’ contestant Tony Schöndorfer asked me some mixing and mastering feedback on his majestic submission. Listening to his well crafted ‘Flight over the Castle’ my ears where first drawn to several balancing, panning, depth and compression issues. On a whole the track sounded a bit mono to me, and bits of EQ’ing could be applied, giving it a little more low end also. While I fancy mixing and mastering I offered him to make a new mix to work on all of the mentioned issues, bearing in mind that in my opinion this track has the potention to come out of the speakers more intense and majestic, having the cohesive live-vibe of one orchestra playing in a concert hall. I asked Tony for the dry and automated instrument tracks, without insert and send efx, just raw wav files. This is what I did when mixing:- Panning and balancing every orchestral section, putting it at it’s place on ‘the stage’.- Within every section working on volume balance between section instruments.- Within every section roll-off low end that is not needed.- Putting insert efx on every section bus (aux) 'putting some make-up on the sound' so to say, highlighting the good stuff, masking the issues. Therefore I used Fabfilter EQ, Pulltec QEP 1A, Manley Massive Passive EQ, Avalon 373 EQ-compression; all doing just a little, we’re talking a few db’s.- Putting a pre-fader send reverb chain on all busses (auxes) or individual instruments; 1. Seventh Heaven; scoring stage 2.20 sec, about 50%.2. Fabfilter Pro-R: Vanilla Hall, 3.10 sec.about 50%.Then sliding the dry signal into the wet reverb till I hit the right ‘realistic’ depth.This is what I did when mastering1. Fabfilter EQ2: parametric EQ doing low-end roll off around 20hz, some mids pulling around 450hz and high end boosting around 4.8k.2. Pulltec EQP-1A: just a touch of low end and high end, 1.5db.3. Manley Massive Passive MTS: litte low end boost around 47hz, mids pulling around 390hz and high end shelve boost around 12k.4. Avalon VT 747 sp: little EQ boosting around 15hz, 100 hz, 5k and 32k, and pulling around 500hz. And some compression, just -0.5db.5. Manley Variable MU compressor: -1.5 db, middle attack, fast release.6. SSL Fusion stereo image: widening the sides around 2db.7. Fabfilter C2 compressor: -2 db, ratio 2:3, attack and release both around the middle.8. Fabfilter Limiter: -12LUFS, boosting 4db, oversampling 16x, -0.6 dBTP.Link to Tony’s You Tube channel: youtube.com/@Schoendorfer-Music @schoendorfer-music Link to Tony's original submission Flight over the Castle:youtube.com/watch?v=u7CWpxBDUvcLink to my ‘finalist’ submission ‘of Kings and Queens’:youtube.com/watch?v=1P_0QZd51I4Link to my judges feedback revision ‘of Kings and Queens’:youtube.com/watch?v=z86_AAylB9g&t=2sBe well,Jeff
A Beautiful Day // The Halmeijk Orchestra playing in Air Lyndhurst Hall // #AirStudiosReverb Jeff Hijlkema 2024-05-23 | 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 Studios 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 about 25 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, sliding them into 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. Note: sliding the dry signal in sounds like standing outside the hall hearing the instrument from far, sliding the dry signal in sounds like coming closer, going into the hall and put your instrument where it belongs). 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, Eric Whitacre Choir and some other smaller instruments. I choose to also put the hybrid instruments in the hall, divided throughout the spectrum, choosing different depths, as if the synthesizers are standing in the hall playing through an amplifier joining the orchestra.With mixing and mastering I had the challenge to make this sizeable, diverse orchestra into something cohesive, where everything still has it’s place. In the video you can see some of my instruments plugins working.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.If you like what I do please subscribe, like or comment, it will help the channel, thanks.Be well,Jeff
of Kings & Queens // Judges Feedback Revision // April 2024 Composing Competition Jeff Hijlkema 2024-05-09 | Wednesday the 8th of May there was this YouTube livestream event on the Ryan Leach Composing Competition channel, where three judges, (musicians & composers in the field) gave their feedback on the 12 finalists submissions in the Ryan Leach April 2024 composing competition. With my piece ‘of Kings & Queens’ I was one of the finalists. This is a link to my original entry:youtube.com/watch?v=1P_0QZd51I4You can watch the full livestream through this link:youtube.com/watch?v=KnFpzt5ucEA&t=835sMy work didn’t make it to the final winners. After hearing the feedback of the judges, specially the feedback on what could be improved, I thought of revisiting my composition to process this feedback, making a 2nd version, next to it. This is the feedback I took into account:- The main theme loses it’s power and attraction in the second climax (at 1:09). Nothing really new is introduced there but the choir on top.- The main theme in the second climax could use some counterpart in the middle voices.This is what I changed:I brought back the first climax (0:50) to smaller proportions, in order to not give away too much there already, just proper introduction of the main theme by the full strings, with a added solo flute on top of it, just very softly, for color. The piano is still playing along, but in the background, just like the harp and celeste. So, in that first climax I took away the deep pizz bass, sine wave bass, timpani and some orchestral efx (to only bring it all back in the 2nd climax). The 1st violins are now playing the maintheme one octave lower, together with the 2nd violins, for a full unisono sound. In the second climax the 1st violins are playing the main theme one octave higher, lifting things up. In the second climax (1:09) I introduced some counterlines in the 2nd violins, doubled by the choir altos. All together they are pulling away some attention from the main theme here and there, adding a little more movement also. In fact all pretty subtle changes, if you compare it to the original. Though I wonder what version you like best? Be well,Jeff
11/16th • Going Epic with my Favorite Insert Plugins Jeff Hijlkema 2024-05-07 | In this 11/16th timesignature epic kinda short piece I’m using my today’s favorite insert plugins to really spice things up. I’m running my orchestral instrument busses through several characteristic plugins that all do a little pushing and/or pulling. When mastering I did some final touches.Using Albion One and Albion Iceni here reminded me again of the amazing lively sound of the Air Lyndhurst Studio sound, specially when using a blend of all available mics (Close-Tree-Ambient-Outrigger). On top of it I used just a tiny touch of Cinematic Rooms reverb to blend all the sections with the softsynths, like these synths are playing on stage also.Vst instruments:1. Short Strings; Albion One – ‘spiccato’ doubled with ‘spiccato/staccato’.2. Short Brass: Albion One ‘short mids’ & Albion Iceni ‘short low’.3. Long Brass: Albion One ‘long high’& ‘long low’. Albion Iceni ‘long low’4. Percussion; Albion One - Darwin percussion Ensemble.5. Kontakt Factory synths (3x): ‘The Wagons Roll at Night’ – ‘Hard’n Dirty’ – ‘Adrenaline’.For orchestral bus insert plugins also see the video.- Fabfilter EQ2- Pultec eqp-1a- Manley Massive Passive EQ- Renaissance Axx compressor- Avalon 737 & 747 EQ-compressor- Fabfilter C2 compressor- SSL Fusion Stereo image pluginOrchestral bus send reverb chain:1. Cinematic Rooms Pro – Score Stage (about 20%).2. Cinematic Rooms Pro – Reflective Hall (about 20%).For mastering chain plugins see near end of the video.Be well,Jeff
Adagio for Strings // mockup using BBCSO & Appassionata Jeff Hijlkema 2024-04-29 | For some decades making a Barber's Adagio for Strings mockup was on my production bucket-list and for long string plugins just didn’t catch up was my experience, next to my lack of DAW skills. Times have changed and I finally went for it, combining Spitfire BBCSO Pro strings and Spitfire Appassionata Strings. These are in fact the only string libraries I have, chosen for their splendid human touch sample recordings. These libraries are pretty though to tweak I think, but I haven't come across a string library that has a better authentic, classical feel and human touch.The Adagio 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, next to having midi files from te score, that lacked the divisé parts though. I started this project by creating a Cubase tempo track, lined up with this original recording, resulting in a tempo track with around 300 dots.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 strings:Tree 85%Outriggers 70%Leaders 35%Close Wide 45%Sides 40%These 9 mics in total I rendered seperately per instrument track in Cubase. This way I have 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 in the Adagio.As for the blending of the two string libraries I went for taste per individual instrument track, where sometimes Appasionata rules more then BBCSO or vice versa, and that could change per instrument group (violins 1, violins 2, etc.)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 efx plugin chain for both Appassionata bus & BBCSO bus: 1. FabFilter EQ2 for little low end roll-off, mid pull and high end boost, around 1.5db up2. Manley Massive Passive EQ for character, warming the low end and little presence3. Avalon VT-737 EQ for sophistication and charachter also. All just a little touch. Where I first dial the knobs up extreme and then dial back to find the right subtle amount.Send Reverb 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 20Hz2. Fabfilter EQ2 Mids pull3. Manley Massive Passive EQ for little 47hz and 16k boost 4. Avalon 747 EQ for a velvety blanket.5. FabFilter Compressor -1.5db6. FabFilter Limiter -11 LUFSIt 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.Art work by Caspar David Friedrich.Be well,Jeff Hijlkema
Lingering Loops #1 // Using Free LABS only Jeff Hijlkema 2024-04-15 | Strolling through my archive of ideas I stumbled upon a piece using only instruments out of the amazing sounding free LABS series by Spitfire Audio. My idea at the time was to create a LABS only template adding every new instrument that was released. Thereby creating only underscore loop kinda compositions with this template. At some point I stopped adding, forgot about the template and my loops, untill a few days ago, finalizing a lovely lingering, loop, repeated 4 times in a row. Because of the round robins the loops never sound the same really.What you hear comes straight out of LABS, no added reverb or processing other then a little EQ’ing (push & pull, just a few db’s) and some low end roll off here and there. I did use LABS automation CC1 and CC11. Next to that I did some mixing in the midi template, using just volume balancing. The panning I did within the LABS GUI only. Some mastering was done on the stereo bus.Link to LABS: labs.spitfireaudio.com/?sortBy=prod_products_labs_latestEnjoy and relax!Jeff
of Kings & Queens // April 2024 Composing Competition // Finalist Jeff Hijlkema 2024-04-13 | This is my finalist 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.Link to the composing competition:youtube.com/watch?v=6ppzd-1srlo&t=7sBe well,Jeff Hijlkema
Zelda // based upon Song of Time Jeff Hijlkema 2024-03-03 | Hi, this Zelda track is based upon 'Song of Time' by composer Koji Kondo, well known from his music for The Legend of Zelda. The Song of Time ocarina melody was given to me by Ryan Leach (in the context of an upcoming release on his channel) with the challenge for me to build a new track around it, totally carte blanche. The ocarina though still has a place in my version, if you listen carefully. In Zelda I'm starting soft and kinda small, like a young Zelda, building up to an epic, stronger and heroic Zelda.My Song of Time rework has become a hybrid orchestral piece. Using BBCSO Core for full strings and some brass, and using Hammers for some lower orchestral percussion. This is all backed up by a lot of different kind soft synths, mainly out of Albion One and Kepler orchestra. The video footage was taken from Pexels.com and shot by Taryn Elliot.pexels.com/@taryn-elliottI compiled and edited the video material in Hitfilm and DaVinci Resolve.Be well,Jeff Hijlkema
For Those Who Wait // Ryan Leach January 2024 Composing Competition Jeff Hijlkema 2024-01-28 | My entry for the Ryan Leach January 2024 Composing Competition: composing max 90 seconds of music, scoring the given image 'Cyberpunk Love Story' by Hardy Fowler. I went for emphasizing a loving feeling of her waiting for him to come back safe.Artwork: Cyberpunk Love Story by Hardy Fowler.Music: For Those Who Wait by Jeff Hijlkema.My palette:- Full Strings (BBCSO Pro, with tweaked mic setting).- A couple of soft synth patches (out of Kepler Orchestra and Albion One). - Mosaic Synth Bass (Heavyocity).- Sub engineer Bass (Kontakt Factory Library).- Guzheng (Orchestral Tools, Phoenix orchestra).- Zen drum (Fracture Sounds).- Grand Piano (The Grandeur, Native Instruments).All composed, mixed and poduced using Cubase 13 Pro.Mixed and mastered using these plugins on my auxes and stereo bus: - Avalon: 737 & 747.- Manley: Massive Passive EQ.- Solid State Logic: Fusion Stereo Image.- Fabfilter: EQ, Compressor, Limiter.Reverb chain:1. Scoring Stage - Seventh Heaven, Liquid Sonics.2. Hall & stage - Cinematic Rooms.3. Black hole - FabFilter Pro-R.Be well,Jeff Hijlkema
Mea Vota // using Orchestral Tools instruments only Jeff Hijlkema 2024-01-26 | 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 - WhisperFlugelhorn Legato // Orchestral Tools - WhisperBass Clarinet Legato // Orchestral Tools – WhisperFemale Choir: Aah + Mmm legato – Dynamic Longs – Syllables long // Orchestral Tools – Tallinn & MiroireMale Choir:Aah + Mmm legato – Dynamic Longs – Syllables long // Orchestral Tools – Tallinn & MiroireMea 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.For the accompanying video I used free footage from Pexels, Pixbay and Videvo. Montage and editing in Adobe Premiere Pro and DaVinci Resolve. Be well, Jeff
Motus Constantus for strings // Blending Four String Libraries // Revisited version Jeff Hijlkema 2024-01-25 | 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 - LegatoBBCSO Core - Violins 1 - LegatoViolins Shorts:Miroire – Violins - StaccatissimoTallinn – Violins - StaccatoBBCSO Core – Violins 1 - SpiccatoViolas Shorts:BBCSO Core – SpiccatoMiroire – StaccatissimoCelli Longs:Appassionata - LegatoBBCSO Pro – LegatoTallinn – LegatoBasses Longs:BBCSO Pro – LegatoTallinn – LegatoBasses Short:BBCSO Pro - PizzicatoFor mixing and mastering I used mostly these plugins:Avalon: 737 & 747 (tube warmth, EQ and little compression)Manley: Massive Passive EQ FabFilter: EQ, Compressor, LimiterFor Motus Constantus I was inspired by the mesmerizing late minimalistic piano works of Dutch composer Simeon ten Holt (1923-2012).Be well,Jeff Hijlkema
Trail of Light // Rescore by Jeff Hijlkema // #BIFSC2024 Jeff Hijlkema 2024-01-10 | My submission for the Berlin International Film Scoring Competition 2024. Rescoring the shortfilm Trail of Light. The sounddesign was created by Adam Chilcote, 1st prize winner of the BIFSC Sounddesign competition.Be well,Jeff Hijlkema#BIFSC2024
My Mare // Using BBCSO Core only // #oneorchestra Jeff Hijlkema 2023-12-27 | Those who visit my channel frequently might know by now that I’m a huge BBCSO user. Through the years I’ve learned sailing this amazing orchestral soundship. For this composition ‘My Mare’ I only used BBCSO Core, creating a orchestral piece based upon a lovely Celtic melody called the ‘My Horse’ theme, provided by my dear fellow country man Harry Koopman, who heard it somewhere on the radio, decades ago. Also the fugue theme in the middle is a spin-off from the main theme. That original 'My Horse' main theme is to be found at 1:34. I challenged both Harry and myself to create a orchestral piece around this theme. With the rule of only using BBCSO Core and one ‘non-Core’ instrument. This became my pallet:Flute 1-2Oboe 1-2Clarinet 1-2Bassoon 1-2Trumpets a3Horn Horns a4Trombone 1-2Trombones a3Tuba 1-2HarpGlockenspielPiattiTimpaniViolins 1Violins 2ViolasCelliBassesSopranos (Eric Whitacre Choir)Tenors (Eric Whitacre Choir)For mixing and mastering I had the opportunity to use some of my recently purchased plugins: The Avalon 737 & 747, and the Manley Massive Passive. All adding tube warmth, presence, body, detail and energy to the orchestral auxes and stereo bus. It all makes the piece more alive in my opinion.For reverb I this time only used Liquidsonics Cinematic Rooms, adding a 2 chain send reverb: 1. Score stage 2. Rear Large Hall. Both full mix and around -9bd setting in Cubase (different amounts on the several orchestral sections). Consider listening on decent speakers or headphones to get the full stereo experience.Be well,Jeff Hijlkema
Impressive GAMMA patch // COSMOS by The Crow Hill Company Jeff Hijlkema 2023-11-25 | ...Overwhelmed by the Gamma patch out of the COSMOS plugin, released by The Crow Hill Company. Heavily processed string samples out of their String Murmurations Plugin. It has this wide, embracing, vibrant and deep feel to it. The grandeur that I like synth pads to have. In this little one minute demo I added an arpeggio for extra movement, created with the Prophet REV2 analogue synth. Enjoy and be well.Jeff
Murmurations Inspirations // Can I beat the plugin??? Jeff Hijlkema 2023-11-05 | A week ago The Crow Hill Company released their amazingly plugin String Murmurations. Recorded string phrases and motifs under your fingertips, sheer magic and emotion I say. Couldn’t resist this inspirational beauty and purchased it.After installing I immediate started playing just four chords (A minor – D minor – F major – A minor) with one of the many beautiful on board patches 'Broken Hearts', and that’s where I got inspired to try and recreate, sort of rebuild the result, using my two favorite string libraries BBCSO and Appassionata strings. Note: I played the chords in blocks, not connecting the similar notes between the chords. Could do that for a smoother transition between chords. In my rebuild that 'problem' was solved using finer CC automation and velocity tweaking.In the attending video I also share some info on my mix and mastering plugins on this one.I think I won’t use Murmurations in any of my pieces straight forward, but I experienced this plugin can be of good use for great inspiration, intuitive playing, finding some nice ideas to spin-off from. If you like what I do please subscribe and help my channel to be found. Thanks!String Murmurations: thecrowhillcompany.com/string-murmurationsBe well,Jeff Hijlkema
Woodland Wayfare // Ryan Leach October 2023 Composing Competition // Honorable mention Jeff Hijlkema 2023-10-08 | This is my entry for the Ryan Leach October 2023 Composing Competition; composing a max 90 seconds score inspired by the artwork “The Dudj Brothers”, made by Lorenzo Lanfranconi.My score ‘Woodland Wayfare’ genuinely displays the atmosphere and feel of the adventures and excitement the Dudj Brothers came across on their famous Woodland Wayfare ;-)Update 8 November 2023; got it as far as the 'Honorable mentions' with this entry.Be well,Jeff Hijlkema
The Gallop // ALBION ONE demo and mix revisit Jeff Hijlkema 2023-09-14 | 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 signal2. FabFilter Pro-R Vanilla Hall - 2.80sec, -13db to -18db Send signalMy Master bus chain on the revisited Gallop version:1. FabFilter Pro EQ2 – doing some general boosts and cuts2. Fabfilter Pro EQ2 – doing only mid and side EQ’ing3. Plugin Alliance Brainworx bx Digital V3 – doing some precision EQ’ing and 5% widening4. Ozone Imager – Using it for just 5% widening5. Solid State Logic Fusion Stereo Image – for 2.2db widening (above 400hz)6. FabFilter Pro-C – Compressing just about -3db7. Solid State Logic G Master buss compressor – A touch of compression and make-up gain8. FabFilter Pro-L2 - Limiting -11 LUFS, and boosting master track with 5.5db Be well,Jeff Hijlkema
Salvé // using Orchestral Tools Tallinn VST only Jeff Hijlkema 2023-09-03 | 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. The video was compiled using footage from Pexels and the Orchestral Tools Tallinn trailer. In the video I also show screenflows from the midi events in my Cubase Pro 11 project file.Orchestral Tools Tallinn: orchestraltools.com/store/collections/tallinnSSL Fusion Stereo Image: store.solidstatelogic.com/plug-ins/ssl-fusion-stereo-image-plug-in-FabFilter Pro-R: fabfilter.com/products/pro-r-reverb-plug-inBe well,Jeff Hijlkema
Creating Cinematic Suspense // with a hybrid orchestral pallet Jeff Hijlkema 2023-08-28 | Going just a bit out of my comfort zone creating a more suspense vibe-isch score, to a video that I compiled using all kind of free material from Pexels.com. I composed, mixed and produced this score using my so trusted, never letting me down Cubase 11 Pro. This was my instrumental VST Pallet:01. BBCSO Core & Pro strings - Longs, Legato's, Leaders, Trems, Harmonics, Spiccato's. Staccato's, Pizzicato's02. Olafur Arnalds - Chamber Evolution Strings - Grid Thrills & Chamber Waves03. Kepler Orchestra - Cello Doplers & Slide up04. Albion Iceni - Sine Bass (Sub)05. BBCSO Core - Piccolo, flute, oboe, clarinet, bassoon (all solo)06. BBCSO Core & Pro Brass - Trumpet, horn, horns a4, Contrabass Tuba07. Eric Whitacre - Evolution Choir (SATB)08. Spitfire Audio Symphonic Organ09. Albion One - Brunel percussive loops10. Percussion Swarm - Crotales11. Albion One - Toms12. Hans Zimmer Percussion - Toms13. Native Instruments - The Grandeur & Piano Mark 114. Simrock Piano15. BBCSO Core - Celesta & Glockenspiel16. Soniccouture - The Conservatoire Collection - Psalter17. Ventus - Bansuri & Ocarina18. Spitfire Audio Glass & Steel - Steel Bowl pad19. Albion One Stephenson's Steam Band - all kinda different synth padsFeel free to ask any related question below in the comments.Be well,Jeff
Reverie // with little project inside look Jeff Hijlkema 2023-08-24 | Hi there, once in a while I gladly revisit my archive, reworking some older pieces, with some of the new knowledge and skills I picked up travelling the neverending learning curve. Things can nearly always be automated, tweaked and mixed more precise or different. So did I with Reverie. Below you'll see the instrumental pallet I used, some of them having a bigger role. In the video you can see their midi events.Used vst's:1. Albion One – Wood High Legato2. Olafur Arnalds Chamer Evolutions – Chamber Grid Thrills3. Olafur Arnalds Chamer Evolutions – Cello waves & Bass waves4. Albion One - Strings Legato High Octave5. Albion Iceni – Strings Low Celli Legato, portamento6. Albion Tundra – Strings High Flautando & Strings Low Flautando7. British Drama Toolkit – Texture strings & Soft Woodwinds8. Kontakt factory Library - Sub Engineer Bass9. Massive – Harpolodic10. Albion One - CHX Beautiful Reflective Pad MW Is Bright11. Native Instruments – The Grandeur (Grand piano)12. LABS – Peel Guitar Ensemble13. Eric Whitacre Choir SATB – Longs MMM14. LABS Choir - Long15. Prophet REV2 analogue synth– Patch U3-F50 (tweaked)All was composed, mixed and produced using Cubase 11 Pro, using a bunch of non-board plugins while mixing, such as FabFilter, Waves, Brainworx and SSL.Be well,Jeff Hijlkema
Eminem - Slim Shady Theme // Baroque Cover by Jeff Hijlkema Jeff Hijlkema 2023-07-31 | Could the 'catchy' Slim Shady theme have survived in the German Baroque period? I Baroque sounding arrangement to hopefully prove it, using a blend of Orchestral Tools and Spitfire Audio vst's:Short strings:Violins 1 - Tallinn, Miroire and BBCSO CoreViolins 2 - TallinnViolas - Tallinn, BBCSO CoreCelli - TallinnBasses - TallinPizz Basses - BBCSO CoreLegato Long strings:Violins 1 - Appassionata strings / Miroire Celli - Appassionata strings / Tallinn With the long strings I tried my best to approach the full and warm baroque sound of the famous Dutch Combattimento Consort, doubling Spitfire Audio Appassionata Strings with the more icy tone of Orchestral Tools Miroire and Tallinn vst's.On some of the short and long strings I used the Waves Aphex Vintage Aural Exciter plugin (tweaked 'Edgy violin' preset) to create the more characteristic thinner baroque sound.Just before the climax, around 1:50, I softly blended some wind instruments from the Miroire vst (baroque flute, alto recorder and baroque oboe). They return in the end 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 On the shorts and longs respectively -12db & -10 db.Arranged, composed, mixed and produced in Cubase 11 Pro.Be well,Jeff Hijlkema
#vostringscomp23 // entry by Jeff Hijlkema // Revisited version Jeff Hijlkema 2023-07-24 | 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 (leader strings)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
THE COOK // IFMC 2023 entry // Rescore by Jeff Hijlkema Jeff Hijlkema 2023-07-22 | Hi there, this is my entry for the IMFC 2023. Rescoring this amazing shortfilm The Cook.Composed and produced with Cubase 11 Pro, using the following pallet:- BBCSO Core, Brass & Strings (Spitfire Audio)- Albion Iceni, cello shorts (Spitfire Audio)- Olafur Arnalds Chamber Evolutions (Spitfire Audio)- LABS Amplified Cello Quartet, slide up (Spitfire Audio)- Eric Whitacre Choir, altos-tenors (Spitfire Audio)- Hammers percussion (Spitfire Audio)- Vocalise 3 (Heavyocity)- Mosaic Bass (Heavyocity)Reverb chain:1. LiquidSonics Seventh Heaven - Cinema Room2. FabFilter Pro-R - Vanilla HallBe well,Jeff Hijlkema#IFMC2023
Farewell to the West // July 2023 Composing Competition // entry by Jeff Hijlkema Jeff Hijlkema 2023-07-03 | 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; artstation.com/artwork/XnXOEaMusic composed, mixed and produced by Jeff Hijlkema.Ryan Leach July 2023 Composing Competition: youtube.com/watch?v=FK5bkPluaf4
Innersoul // a British Drama Toolkit Demo Jeff Hijlkema 2023-06-25 | It's been a while that Spitfire Audio released their original British Drama Toolkit (BDT). A timeless vst to compose subtile en sensitive music with. In this demo I stack multiple soft strings and woodwinds patches, that way you'll hear a more richer orchestral chamber sound, with a few characteristic indivudual accents now and then. In the mix I panned and stereo-balanced some of the patches to get an even wider stereo feel.The String and Woodwinds auxes both at 1st use a 7th Heaven Sunset Chamber reverb, going through a FabFilter Cathedral reverb 2nd. Both reverbs using the full wet mix, but only using half amount in Cubase itself. I also use a touch of the build-in reverb that comes with BDT.These free video 'eyes' footage was taken from Pexels.com. All compiled and edited in Hitfilm. The green midi events in the video represent the string parts, the blue ones representing the woodwinds.Hope you enjoy.Be well,Jeff Hijlkema
Score breakdown Temple of Catharsis // by Jeff Hijlkema Jeff Hijlkema 2023-06-07 | Little breakdown of my 1st prize winning score on the Ryan Leach April 2023 Composing Competition. If you have any questions or comments just leave them down below and I'd be happy to answer them. My winning score: youtube.com/watch?v=wRs5THZo3lMConversation with Ryan Leach on my winning score:youtube.com/watch?v=Rjesn_R5eo4Live stream Finalists, Winners & Judging: youtube.com/watch?v=Q0otOTevleQRyan Leach: youtube.com/@UC5pbZl4urNZOr9aPxMC1xfg Be well, Jeff Hijlkema
Fòghlainn for Eric Whitacre Virtual Choir Jeff Hijlkema 2023-05-27 | This is a Eric Whitacre Virtual Choir arrangement from my Fòghlainn for Bruadar piano. Using only the S - A - T - B legato's (Mmm - Oeh - Aah - Ooh).On the insert I did some roll off EQ and warming, on all the seperate voices, and I added the Aphex exciter to brighten up things, just a little.For send reverbs I used a chain of two:1. Seventh Heaven Scoring stage - 2.20 sec.2. FabFilter Cathedral - 5 sec.Both using just a -11 db amount in Cubase.The video was made compiling free footage from Cottonbro Studio:pexels.com/@cottonbroBe well,Jeff Hijlkema
Fòghlainn for Bruadar Piano Jeff Hijlkema 2023-05-25 | Composed just using The Grandeur vst piano, blended with a Kontakt Factory synth pad, creating a dreamy like tone; my 'bruadar' piano.Bruadar means dreamy and Fòghlainn kinda means wandering, in Scottish Gaelic.The video I created using free footage by Cottonbro Studio, to be found on Pexels: pexels.com/@cottonbroThere will be a choir version from this track coming soon... so stay tuned.If you like what I do, please subsribe; it will help me being found more on YT.Be well,Jeff Hijlkema
If I was Your Lover // Marshall Vincent // Spitfire Audio Recompose Contest Jeff Hijlkema 2023-05-12 | My submission at the time for a Spitfire Audio recompose contest (January 2022). Working my way around just the vocal part from Marschall Vincent's song 'If I Was Your Lover'. Using:Orchestral Tools Tallinn vst: choir and organ.Orchestral Tools Whisper vst: bass clarinet, flugelhorn and flute.Reverb: FabFilter Pro-R, Cathedral 2 setting.Hope you enjoy.Be well, Jeff
Free at Last - Jeff Hijlkema Jeff Hijlkema 2023-05-11 | One out of my archives. Composed and produced with FL Studio 9 and Sylenth1, back in 2010 ;-) Let's dance!
Back to basics // Spitfire Audio Intimate Grand Piano // Demo Jeff Hijlkema 2023-03-30 | Hi there, it's been a while. I'm slowly returning to my music studio, starting to compose again, after a long period of deep absence. Now I'm going back to basics with this one! Ten months ago Spitfire Audio released Intimate Grand piano in their Originals series. I composed a little neoclassic demo using this Grand only. In my experience it has such a deep character and lively, warm sound. It really stands out in my grand piano vst arsenal at the moment. I'm using a blend of 50% Ribbon, 50% Close and 100% Binaural mics. Added a bit of FabFilter Blackhole send reverb (15 sec), little Fabfilter EQ, Puigtec EQ (for body and more warmth), Kramer master tape (to open up the sound a bit more) and Fabfilter compression (just -1db). All just a touch...The piano piece was played on a Komplete Kontrol S88, using Cubase Pro 11, no click track, no tempo mapping or anything. Just recorded and went with the natural flow. No grid or quantizing afterwards. The video I compliled, edited and produced with Hitfilm, using all kinds of great free footage from the Pexels website, by a contributor called Mart Production.Mart Production: pexels.com/@mart-productionIntimate Grand Piano: spitfireaudio.com/originals-intimate-grand-pianoBe well,Jeff Hijlkema
ARRIVAL // Hybrid Orchestral Mockup // Emotive Music Jeff Hijlkema 2022-10-06 | Hi there, thanks for visiting! For this one I singled out and recomposed/remixed my final ‘Arrival’ part out of The Zealot suite. The piece has become hybrid orchestral, using the following bunch of vst instruments:Ventus: Bansuri fluteSpitfire Audio BBCSO Pro: Strings – Woodwinds – Brass – Timpani - GlockenspielSpitfire Audio Albion One: Brass – Cymbals - Gongs – Sub drums – Stephenson’s Steampad SynthSpitfire Audio Albion Iceni: Low BrassSpitfire Audio Eric Whitacre Choir (SATB legato’s)Sonic Coiture: The Conservatoire Collection – English TheorbeLABS: Mandolin – Glacial Pad – Synth PadSpitfire Audio Chrysalis: Big Sky TremsSpitfire Audio Percussion Swarm: Tubular Bells – Chimes&Phones – Crotales TremsSpitfire Audio Glass & Steel: Cups & Bowls – Low Glass padSpitfire Audio Hans Zimmer PercussionProphet REV2 analogue synth: high arpeggio & bass pulsAll is composed, mixed and mastered with Cubase 11 Pro, using Fabfilter, Wave and Brainworkx plugins. For reverb I used a chain of Liquid Sonics Seventh Heaven Hall and Chamber, followed by a little Fabfilter Vanilla Hall (for smoothing the tail), tweaked a bit different on all subgroups. The Bansuri flute has a Seventh Heaven Hall reverb, followed by the Fabfilter Blackhole reverb, but going through a little send stereo delay first.The video was made by compiling free footage from Pexels, edited with Hitfilm. Hope you enjoy Arrival and feel free to subscribe if you like what I do, thanks.Be well,Jeff Hijlkema
The Bearing // Emotive Hybrid Orchestral // Doubling Spitfire Audio instruments Jeff Hijlkema 2022-09-26 | Hi there, thanks for visiting. It’s been a while since I’ve posted anything, but I’m slowly starting up again, by recomposing an older more epic emotive hybrid orchestral work in this case, using Spitfire Audio instruments mainly, doubling the string and brass sections, to thicken things. All in a Cubase 11 environment. Here’s a list of used stuff:SHORT STRINGS:Albion One – Spiccato | BBCSO Pro – Spiccato (Vlns2 & Celli)BBCSO Pro full Strings – Legato | Appassionata full Strings – LegatoSA Alternative Solo Strings – Violin Long Sul TastoBRASS:Albion One – Brass mid longs | Albion Iceni – Brass low LongsBBCSO Pro longs & legato – Horns a4 | Trombones a3 | Basstrombones a2CHOIR:Eric Withacre Choir – Soprano legato’s & Alto legato’sPERCUSSION:Albion One – Darwin Percussion Ensemble Stereo – Mid TomsAlbion Iceni – Darwin Percussion III – Taiko orange drumsAlbion One – Darwin Percussion Ensemble – Low & Sub HitsKontakt Factory Library – Timpani HitsAlbion One – CymbalsKontakt Factory Library – Tubular Bells (wood)MISCELLANEOUS:Albion Tundra – Vral Grid3Albion One – Stephenson’s Steamband - CHX Beautiful Reflective Pad SA Chrysalis – Huge BloomLABS - DulcimerAlbion Iceni – Christian Henson LoopsSA Glass & Steel – Glass arp MW GateSOFT SYNTHS:Retrologue2 – Dirty&GrainyMassive – Alpha CentauriLABS - Synth pads 0004Retro Machine5 – Pro Lead2Retro Machine5 – Matrix Lead3HARDWARE SYNTH:Dave Smith Prophet Rev2 – U2-P40 Patch
MELOMANIA // for Cello, woodwinds, brass and strings // Using Spitfire Audio only Jeff Hijlkema 2022-05-05 | Remastered Soundcloud version:on.soundcloud.com/SwxtnDoubling 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.The video shows the names of the other used Spitfire Audio instruments.I compose, mix and produce using Cubase Pro 11.Be well, Jeff Hijlkema#spitfireaudio
This is No My Plaid // Scottish Folksong // Orchestral Arrangement // Mix breakdown in description Jeff Hijlkema 2022-04-25 | Inspired by an old little Scottish Folksong. Using BBCSO Pro only in this mockup. Mixed and produced in Cubase 11 Pro, using FabFilter, Brainworx and Waves plugins. The score was printed using Finale. IN DEPTH ON MY ORCHESTRAL MIX and MASTERNote: this mix was produced after a concerthall listeners perspective, not a conductors standing point one. After rendering every single midi instrument track two times (apart render combi spill & atmos mics) I made subgroups for all orchestral sections; woodwinds, brass, percussion, strings. Switching off all inserts and sends that I added in the midi phase and I start making a static mix, per subgroup; panning and balancing. Treating every subgroup as being a beautiful concert on it’s own. Then I put a high pass EQ on all separate instruments in a subgroup, to get rid of unwanted low rumble. I use a FabFilter EQ, while it also graphicly shows what is going on. Now the static mix gets pretty transparent already. On the combi spill & atmos tracks I roll off anything beneath 75 Hz. I putted back in some 'noise floor' sound; exporting it seperately from the Spitfire Audio Appassionata plugin.Then I started putting a insert chain on the orchestral subgroups; FabFilter EQ, for general controls and a EQ for mid-side issues, then the Waves Puig tec EQ, for character, bringing back some high and lows mainly. All just a touch. In this case I did not use any compression or limiting on the tonal subgroups, keeping the natural orchestral dynamics intact. Mastering will take care of that. Now the static mix has it's tone and color mostly, for as I want it. I did use the Waves C6 multiband compressor on the percussion subgroup (piatti, triangel, timpani, bass drum) and after that a little Fabfilter C2 compression. So both compressors doing little, instead of one doing all.Time to get to the send efx; putting reverb on the subgroups. I use a chain of two reverbs;1. Liquid Sonics, Seventh Heaven, convolution reverb, warm hall 2.20 sec., with 35ms pre-delay. Giving it a minus 11 to 12 amount in Cubase2. FabFilter, Pro- R, algorithmic reverb, Vanilla hall 3 sec., with 35 ms pre-delay, giving it a minus 9 or 10 amount in Cubase. On this Fabfilter Reverb I put a insert high pass EQ, with a 80Hz roll off.For mastering this orchestral mix I used a chain of 5 plugins;1. Fabfilter EQ, some general low-mid-high control, both boosting and pulling, just a touch.2. Fabfilter EQ, for mid-side controls, both boosting and pulling, also just a touch.3. Brainworx digital V3 EQ, finetuning the mono and stereo spectrum and also widening the stereo image a bit.4. Fabfilter C2 Compressor, threshold -2db, soft knee, mid to slow attack and release, ratio 1:25. Fabfilter L2 Limiter, LUFS -11, ‘Safe’ setting, Gain +8db and -0.5 DBtp.Note: right click on the YT video taskbar to see 'statics for nerds' ; in this case shows only a -0.4 db compression by YT on a 100/100 volume setting. Hope this helps you a digital bit. Be well,Jeff Hijlkema#bbcso #oneorchestra #scottishfolksong
Billy the Kid - The Open Prairie // BBCSO Pro Mockup Jeff Hijlkema 2022-04-16 | Studying the Boosey & Hawkes score from the Billy the Kid suite by Aaron Copland inspired me to make a BBCSO Pro only mockup from Part 1, The Open Prairie. I’m loving the open fourth and fifth character of this piece, reproducing the orchestral suite version.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. 2.20ms2. Fabfilter algorythmic reverb, Vanilla Hall, about 50% amount. 2.80msBoth 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:PiccoloFlute 1-2Oboe 1-2Clarinet 1-2Bassoon 1-2Horn 1-4Trumpet 1-3Trombone 1-3TubaTimpaniPiattiBass DrumHarpGrand piano (The Grandeur. Native Instruments)Violins 1Violins 2ViolasCellosBassesFor more info on my work: jeffhijlkema.comBe well,Jeff Hijlkemap.s. The video I compiled out of free footage. Montage and editing in Adobe Premiere Pro.#aaroncopland#bbcso#oneorchestra
Arrival of the Birds // Mockup // BBCSO pro & Appassionata Strings Jeff Hijlkema 2022-02-19 | Revisited Soundcloud version:on.soundcloud.com/Md837Because I think its such a outstanding piece of music by The Cinematic Orchestra. Did this mockup by ear, working with Cubase Pro 11, using Spitfire Audio instruments mainly. In this case the full string section and harp from BBCSO Pro (mic 'MIX 1'), doubled with SA Appassionata strings (mic 'MIX 4'). Grand piano is The Grandeur by Native Instruments.Be well,Jeff Hijlkema#arrivalofthebirds#bbsco#appassionatastrings
