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There seems to be a consensus for divisi type strings and additional or "special" articulations. This brings up another thread in which there was some discussion of how samples only"follow" what is done in orchestral practice.
Wouldn't it be interesting if samples actually INITIATED orchestral practice? or at least compositional practice, with in this case, sampling some new special techniques that have not be done before and were improvised at the sampling sessions.
@Migot said:
...Baroque organ or Neo-Classical organ would nice too! like this: http://www.uquebec.ca/musique/orgues/quebec/smartyrsq.html Thanks again Alain LeBlond
I'd like to play on a G.Silbermann-Organ ( http://www.milandigitalaudio.com/organs.htm )
... but in a VI...
Beat
I second fritzflotow's wish for non-vibrato legato.
New instruments:
- baroque strings, including viola da gamba
- baroque woodwinds: traverso, baroque oboe, oboe da caccia
- baroque and Renaissance brass: cornetts and sackbutts, natural trumpet
(and the possibility to use non-equal tunings...)
Pitt
Euphonium sustain with vibrato.
Alto saxhorn in Eb (British Brass band tenor horn)
I'd like suggest that three players is a better number than 2-player desks or 1-player benches. Three is the minimum for a genuine ensemble sound, and I'd rather be mixing ensemble sounds than trying to create them out of non-ensemble recordings.
I think that if there was another Solo violin, it would make it unnecessary to have any more small sections, because the possibilities would have increased for layering with Chamber Strings to give a small section sound.
DG
Therefore I suggest the complete set of foghorns starting with the Queen Mary.Looking forward to getting on that boat in the not too distant future.-------- I've no idea about extra articulations - the AP strings may need a lot more and the AP II strings may require a certain amount of ironing out in some legato transitional areas. ------ Why not go completely crazy and record individual string desks in groups of two and have them placed by MIR in their correct positions. :()))()(())) --- I don't particularly care for modernism in terms of releasing samples that are pre - played sound effects - because I would probably use them.
May I suggest a sampled potato?
Many do not know that, with an appropriate drill and drill bits, one can create a flared bore and finger holes to make the potato into a unique tuberwind instrument. (This works best with raw Russet or Yukon Gold potatoes.) Then there is the bowed potato whose quiet hiss can add a new dimension to any orchestral texture. It can even be played sul ponticello (although many have difficulty in finding the ponticello upon which to be sul. . ) Samples of wind powered and bowed potatoes (of different sizes and varieties) would, I think, be a great addition to the VSL library.
In the violins, with the Orchestral, Appassionata, Chamber and Solo already recorded, the two additions of second solo and two-player desks would allow the possibility of completely separate sample-sets of players numbering solo (with variation), 2, 3, 4, 6, 7, 8, 9, 10, 14, 15, 16, 17, 20, 21, 22, 23, 24, 27, 28, 29, 30 and some higher numbers made by combining Orchestral/Appassionata. This allows completely realistic divisi. Especially if the programming genius that has led to Vienna Ensemble is used to create an automated divisi tool [H]
BTW I think Guy and Dietz have hit upon something very significant with the fog horn/cowbell concept. But I will need an AB switched Legato-Portamento Foghorn with release samples as well as a 5-velocity Tenor Cowbell for the Double Concerto I am now planning. And PLEASE - I would prefer an Italian Foghorn and a Scandinavian Cowbell - probably Icelandic - as they are far more espressivo for the Neoromantic concerto style I specialize in when writing Double Concerti.
William, I think the more expressive one you're talking about is the E flat foghorn. It was Benjamen Foghorn who invented the instrument in 1894, but wasn't until 1947 that it became a favorite among all professional musicians and fans around the world. We all know the Foghorn Adagio in Mahler's symphony of the Sea, I get goose bumps every time I listening to it.@William said:
I think Guy and Dietz have hit upon something very significant with the fog horn/cowbell concept. But I will need an AB switched Legato-Portamento Foghorn with release samples as well as a 5-velocity Tenor Cowbell for the Double Concerto I am now planning. And PLEASE - I would prefer an Italian Foghorn and a Scandinavian Cowbell - probably Icelandic - as they are far more espressivo for the Neoromantic concerto style I specialize in when writing Double Concerti.
@William said:
2, 3, 4, 6, 7, 8, 9, 10, 14, 15, 16, 17, 20, 21, 22, 23, 24, 27, 28, 29, 30
I'm sorry that I have to remind you that layering samples does not add up linear. 14 + 14 legato and sustain ain't sounding bigger than the 20 in App nor is 14 + 6 (of CS) sounding the same - IMHO. Yet it extends the layering possibilities a lot and also opens another door to different expressiveness than CS or SS alone could.
Kazoos!
PolarBear
Just my tuppence worth...
Would like to see a second solo violin (as has been mentioned already) for string quartets, ethnic instruments would also be great - although how you'd possibly decide which ones is beyond me (the harmonium is a decent accordian substitute so at least that one's been dealt with - kinda), and I'd also go for atonal techniques too.
However it could be a long time before I have enough money to get round to them after buying all the other VI's I'm after!
Martin
