Much love to you and yours Noah 
Experimenting with Children’s Choir, in combination with a little Glass Strings. I tried just to use the un-effected singing styles to find out whether the choir can be used without invoking too many horror overtones.
(it came out darker than I intended - but perhaps that’s me rather than the library!)
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I love this - as it was playing I couldn’t help thinking though that your Edwardian comedy songbook needs a turn by the choirmaster in a boys school who has grave suspicions of his angelic little charges…
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Nicely done, it blends really well with the Glass stings, so unsettling 
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Blooming heck Ed that was creepy ! 
Mind you I was sat in the dark listening to it with my headphones on 
. Superb piece
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That worked really well Ed! Not sure I should have listened just before going to bed though… 
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Hello everyone!
Rachel Howie (Some of you might know her as Ros Howie @Ros 
) and I have collaborated on our first track!
Rachel is an excellent flute player and she has improvised some truly beautiful and evocative flute for this strings and piano piece that I initiated. What’s really amazing, is that this is the first time I’ve collaborated with someone else for real instruments in a piece (not sure my piano counts!). I’m proper made up with how it’s turned out and it was great to work with her on this. Thank you, Rachel!
So here is ‘Sunbeams’!
We hope you like it!
PS there’s a little poem in the video description that I wrote and added after creating the video!
Happy Monday!
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Ahhhh thank you Eleri that’s everso kind - thank you so much for inviting me to join you working on such a beautiful and inspiring piece!! It was lovely to be a part of, I really enjoyed it!!
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This was beautiful, I think it’s wonderful that you have both worked together and I look forward to more compositions 
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Bravo Eleri & Ros!
That was just totally delicious! Sunbeams was such an apt title…
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Wow, I have just witnessed the birth of a beautiful new entity I’m calling EleRos and frankly I’m lost for words (and that doesn’t happen very often). Thank you so much for sharing.
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You’re really great to work with, Rachel! Thank you for saying yes to the collab! Look forward to more! 
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Thank you so much! We so enjoyed putting this together - that flute is just so heavenly!
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Thank you very much, Michael! And a big thanks to this Crow Hill Network - we’d never have met otherwise!
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Bless you Eleri - me too!
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Thank you so much!!!
Being able to make music by yourself is really awesome - but there is something truly special when you make music with others. Hopefully Rachel and I will be able to share more as the days go on!
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Eleri and Ros, this is a lovely piece of music, thank you for sharing! For me, making music does have some sort of escapist quality, getting away from the world and, well, sometimes also from people, but at the same time it can be a quite solitary affair, so it’s really nice to hear how this collaboration came to be.
Since these halls could use a bit more chatter: a few days ago, I did a track that quite literally started and ended with the Absurdly Quiet Piano PRO (whose sound I love - so moody out of the box and with a bit of editing on top it can go a long way), even though in the middle there’s something entirely different going on. I think it still has a cinematic touch, but at the same time it was a bit of a genre shift for me. Storytelling-wise, I imagined someone whose life is upended by whatever crazy event, which results in a different outlook on things. Maybe it’s a car crash, perhaps it’s a midlife crisis. Rest assured, it is not autobiographical.
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Thanks for sharing this, Daniel. That’s a wonderful arrangement as well as great composition. I can quite see the emotional context that you describe. What did you use for the brass/reeds in that middle section, mate? That’s a gorgeous sound. Thanks again.
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Thanks a lot, Stephen!
The melody line in the middle part consists of 8 individual instruments from the new Instrument X (which I think, in terms of what this means for “sampling” if we even want to call it that, is a very exciting development) as well as from Acoustic Samples’ VHorns, in octaves: one trumpet, one fluegelhorn, 2 alto saxes and then below one tenor sax, one baritone sax, and 2 trombones, all placed in Teldex via Vienna MIR 3D Pro/Berlin Studio Professional to group them together. I guess all of them have their individual weaknesses, but I think combined they balance each other out to get some sort of contoured performance.
(And just because it’s also brass and you asked about that, below all of this for a bit of warmth, there’s also a soft sustain patch from a Performance Samples freebie. Which does sound great, although for this purpose I could likely have used many things.)
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This is a wonderful track, Daniel! Congrats! You’ve very cleverly taken us on a journey of emotions there!
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