Hi Guy, hope all's well with you. 

@Guy said:

What I would like to have more is natural harmonics, ex. if a piano plays 3 notes there will be a whole series of harmonics,

@Guy said:

What I would like to have more is natural harmonics, ex. if a piano plays 3 notes there will be a whole series of harmonics,

Here is one:

http://www.maartenspruijt.com/digitalorchestration.com/?p=34

@synthetic said:

Here is one:

http://www.maartenspruijt.com/digitalorchestration.com/?p=34

Thanks for the link, "synthetic". I'll give it a try.

Obviously a SILENT stage should not make any noise by itself. But it could be filled with nusicians holding their instruments, breathing, sweing their bodies as if they were playing .... All that, I think, should make some noise that would simulate the noise during the performance.

sasha 

Thx for the beladmedia-link. Only knew the Maarten Spruijt Stage free noise until now.

I totally love those noises. It's kind of "simulating the people behind the instruments".

Hi, any current links to getting some "stage air" audio? Nonoe in this thread seem to work.

If you allow for a small ad for our own products here ... ;-)

Vienna MIR offers individual "RoomTones" for each of its Venues. They are original recordings from the natural noise-floor in each of the halls, for every singly microphone array. Their levels are adjustable, of course, and they will even decode properly to the chosen output format (stereo, surround ...). The upcoming MIR Pro will offer the same feature with enhanced options (dedicated inserts and outputs for the RoomTone).

Kind regards,

The missing elements for realism are the noises that often cause re-takes in the studio environment. In otherwords the extraneous sounds the individual and ensemble players make performing the score. For a sampled library it is sensible to filter this out but in the real world all these sounds exist to some degree so would be expected to be present to some extent by the listener.

I found that a room tone can prevent the drop off to dead silence at the end on a piece but would not normally be heard until that point, whereas small sounds of breaths, bow movements floor creaks are the missing realism from a sampled orchestra.

Julian.

@julian said:

The missing elements for realism are the noises that often cause re-takes in the studio environment. In otherwords the extraneous sounds the individual and ensemble players make performing the score. For a sampled library it is sensible to filter this out but in the real world all these sounds exist to some degree so would be expected to be present to some extent by the listener.

I found that a room tone can prevent the drop off to dead silence at the end on a piece but would not normally be heard until that point, whereas small sounds of breaths, bow movements floor creaks are the missing realism from a sampled orchestra.

Julian.

I'm in two minds about this. Whilst on the one hand I agree with you, the other tells me that I've spent years telling players to be quiet, and have therefore become very sensitive to studio noise.

I think my feelings would be:

1. Always use room noise (as Dietz suggested) to avoid digital silence.
2. Never use extra extraneous noise for Media related music
3. Try to use a tiny amount of studio noise for CD release.

DG

I think there is a false assumption here. I agree "some" room noise is important, but you could simply end up with a piece that has a bit of ambience but that doesn't sound any better. I think it's better to invest in the ambience of each instrument and naturally their expression. I've heard people put room noise and it didn't do a single thing for me, on the contrary it even gave a bad effect. I think you have to be very careful in not trying to compensate something else by room noise. And having noises of chairs and such is pretty ridiculous. The problem I see is that the ambience added is too unrelated to what's going on or doesn't seem to have any connection, this is why it doesn't really work, at least in my opinion. I'm not saying it shouldn't be added, but just a drop.

@Guy Bacos said:

I think there is a false assumption here. I agree "some" room noise is important, but you could simply end up with a piece that has a bit of ambience but that doesn't sound any better. I think it's better to invest in the ambience of each instrument and naturally their expression. I've heard people put room noise and it didn't do a single thing for me, on the contrary it even gave a bad effect. I think you have to be very careful in not trying to compensate something else by room noise. And having noises of chairs and such is pretty ridiculous. The problem I see is that the ambience added is too unrelated to what's going on or doesn't seem to have any connection, this is why it doesn't really work, at least in my opinion.

Guy, I think that the room noise thing really depends on what sort of piece you are writing. If it is all bells and whistles, there is absolutely no point, because it would be at such a low level that you wouldn't hear it anyway. However, if there are moments of silence, having nothing is really distracting and cold, whereas a bit of room tone really helps. Of course if your reverb tails are so long that they cover up the gap totally, it is again a waste of effort.

DG

Well for sure you don't need it for thick orchestration pieces, But I wasn't talking about that either. I understand it fills in the emptiness of the silence moments, yeah, I totally understand that, but personally, I would not count on it to live in up your piece or even give it ambience, just add it in as a bonus, a drop.

It's not that I don't understand the logic behind this, but with my experience and from what I heard, it's just not convincing, I hear 2 unrelated things. As for if your oboe has a really nice decay with a nice tail, I don't have any problem with the emptiness. But this is a personal thing anyway, so to each his own.

So no current links? [8o|]