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  • R
    R

    Tom,

    I haven't heard it on a score - this week.[:P]

    You just know this over use of a motif (maybe Jaws two note motif as well) is 'Director driven'.   I know if I was asked to use this on a score - my first thought would be 'how am I going to talk this really dumb idea out of the Director (maybe Producer with the dough).

    ---Sorry, I digress.......

    In all seriousness I think some String FX would be great (beyond the very few in the AP series).   String FX I still use is Garritan's GOS.   Be nice to have some new ones.  Any of the creepy FX from JW or JNH scores, etc.   Can't imagine this taking a lot of studio time (no multisamples needed - just tons of variations.   Leave the mics on and just let em go crazy[;)].  

    Rob 
  • L
    L
    Well, that certainly a classic, but this "articulation" can be very usefull, the aim is not to redo Herrmann's score at all… Furthermore, We could have more articulation up, down, cluster <>, fall during 3 octavas slow, fast, with tremolos. So many cool effects to use. So, i would understand if you don't want it and prefer your french horn range…but there is certainly many composers here using the VSL that would love to have it in their hands
  • J
    J
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    @Rob Elliott said:

    In all seriousness I think some String FX would be great (beyond the very few in the AP series).   String FX I still use is Garritan's GOS.   Be nice to have some new ones.  Any of the creepy FX from JW or JNH scores, etc. 


    As I've mentioned many times, I'm all for an "FX" dimension to the VSL. However, I would hope that they would lean away from this sort of "quotation" idea, that I seem to be getting from what you're saying... I may be misinterpreting, but it would be important, I think, to try to sample the techniques themselves, as "objectively" as possible.... er, I don't think I'm making much sense... It's kind of like the difference between the performance "runs", which I never use, and the different types of performance legatos (which I always use). The performance legatos can be used to make an infinite variety of runs, but they aren't cast in stone, so to speak. I would be a bit disappointed if the VSL sampled a bunch of "creepy FX" in a totally integrated way, so that they always came off as weird sorts of references to, or quotations of, other scores. Am I making any sense yet?... I think that, as long as such extended techniques are considered as just that - techniques, just like legato, staccato, and so on - then their inclusion into the VSL would be absolutely brilliant.

    J.
  • T
    T
    I'm speaking specifically of the quick glisses used in "Psycho" .....that is total cliche, not the rest of the ideas. I would love a STRING FX section too... TH
  • L
    L
    If you think that way, everything is a cliché…everything is made of cliche. Listen to every horror movie music, or gothic or whatever, even Marco Beltrami: it's not cliche, it's classic, like pizz or snap pizzicato, or forte staccato. It's only a new articulation, I don't see where the problem is. And BTW that my wish list among many others.
  • R
    R

     J - you are right - this would be so useful but can this be done 'seemlessly?   If so - I'd be first in line.  I too hate ' pre-recorded performances' - when you hear them on video games, TV, etc. - just makes me wince.   But I wish I could tell you I have never used them[:$]

    Having something we can program would be idea.

    Rob 
  • J
    J
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    @Rob Elliott said:

    but can this be done 'seemlessly?


    Well... yes, it would be tricky, for sure. But these VSL folks are exceedingly clever! 😉
    I mean, we're all accustomed to performance legato, at this point, but that was quite a stroke of genius on, Herb's part.

    J.
  • T
    T
    Laurent, no this is beyond similar techniques used in films, this is a SIGNATURE moment in the history of film and no one can use that repeated ascending quick gliss without everyone knowing it's "Psycho," you cannot compare it to general things like low basses coming in as the knock comes at the door;) TH
  • P
    P
    Just recently, string effects samples were used in a mockup that had to be orchestrated and and notated etc for an orchestra. Working out the instrumentation and notating the sampled string effects was a nightmare. But that's what they wanted so........
  • L
    L
    Tom, in that case, the signature IS an ensemble of elements, you don't have to use it as repeated motif. it's "use it at your own attitude" , it's a very basic articulation. "low basses coming in as the knock comes at the door" is a good one to put on the list too '-)
  • J
    J
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    @PaulR said:

    Just recently, string effects samples were used in a mockup that had to be orchestrated and and notated etc for an orchestra. Working out the instrumentation and notating the sampled string effects was a nightmare. But that's what they wanted so........


    Yes, Paul. This is part of what I'm talking about. If such "FX" are recorded in an insufficiently general way, then it becomes extremely difficult to kind of "work backward" to the notation of the performance. I almost always work in Sibelius, so I don't particularly want "FX" that cannot be scored "properly". By properly, I mean score in the way you would score them for live players... Obviously, there are things that can't really be recorded in such a manner (the 3 trombone clusters are good example), but if at all possible, I'd like things made very general, and flexible.

    As an example, it's imaginable that VSL could program a "performance cluster" patch, which looks at the notes played by the user, just checking for the top and bottom pitches of the cluster, then selects the appropriate sampled cluster for playback. That's a simple example, but you get the idea...

    J.
  • M
    M
    just my 2 cents. I too use Sibelius and I wish VSL would put together an extensive extended-techniques package along with a book that shows how every articulation performed should be notated. Lately I’ve been collecting books on individual instruments on extended performance techniques and I find that unless they come with a CD, which has recordings of the notated examples in the book you still have to rely on musician friends to insure that you get what you've written. Anyway, it would make for a great sample library as well as a educational package that I’m sure composers & students the world over would be more than willing to part with their money for. Besides, you can easily spend 300.00 plus on books alone, so imagine what a package like this would be worth.
  • J
    J
    Absolutely!
  • P
    P

    You may already have seen it, I just wanna note that there are a few examples already in the Instruments Online section of the VSL website. Maybe not as comprehensive as you may wish, but it's a start and maybe VSL is willing to offer more.
  • P
    P
    Not a new articulation, but it would be nice if we had a search box in the patch (or matrix) listing whereby one could instantly list anything matching the string. Then we wouldn't have to click in and out of folders all the time to find (especially) those lesser-used patches.

    On the subject of new features (as opposed to new articulations), some new helper software should be built into VI that would enable one to play cresc./decresc. over single tones and over multiple tones, figuring out on the fly whether and how to cross-fade, use dynamic samples, or whatever might be appropriate ... and let that new software be configurable. The end result should be that under-the-hood programming takes care of making basic phrasing happen.

    In other words, build some musical knowledge representation into the software (which right now only "knows" about legato and repetition). Add crescendo, diminuendo, and ultimately even shoot for "knowing" about where in the bar or phrase one is and letting sample selection be driven by that knowledge. Could save thousands of hours of drudgery. (q.v., SuperConductor by Manfred Clynes, for example).

    - Paul
  • J
    J
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    @Paul Henry Smith said:

    it would be nice if we had a search box in the patch (or matrix) listing whereby one could instantly list anything matching the string


    oooooh, yes, yes, yes, yes! Sweet idea, Paul! I loathe clicking through all those tiny little folder icons...
    J.
  • L
    L
    I second that, especially in the percussion folder
  • stryttenS
    stryttenS

    I second that motion - flautando strings please!

    Large Vienna Library all on SSD, Protools/Carbon on M1 MacBook Pro, OSX Monterey 12.7, Steinway D, Rhodes Mk8-FX, Osmose, Moog One, Trigon 6-DT, OB-X8, Prophet 10 rev4, OB-6-DT, Kawai VPC-1
  • P
    P
    Flautando strings? What exactly is the sound of that?
  • M
    M
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    @strytten said:

    I second that motion - flautando strings please!

    There are flautando strings in the Orchestral Strings collections...

    (sustains only but still... they're there...)