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Thank you everyone for the very warm response. And a special thanks to Herb, Michael, Dietz and team VSL for creating such an amazing musical "instrument!"
And BTW I don't think Jay is drunk now. I think he is ritually slaughtering virgins on the street outside his house, while doing oddly irregular dance steps.
Bill, I'm afraid my neighborhood is fresh out of virgins at the moment but oldly irregular dance steps pretty accurately describes my dancing abilities.
Cheers,
Jay
Jay, I'm speechless. You'll go down in history as one of finest virtuousos of the digital orchestra. Thanks for the gift and the inspiration!
- Paul
There are scanning programs but as with OCR of any kind they cause so many editing problems it seems easier to just put the notes in with a sequencer or notation program manually. Though maybe that has changed.
That is interesting to hear about how wide a spread of distance in the reverb was used in this.
Was that the 8-velocity tam-tam? That seems to respond best to muted choke effects by using CC11. I wish a few more tamtam articulations would be recorded for those particular gongs, similar to the suspended cymbal in rolls - short and long crescendos, and choked. There is a lot of short ff tam-tam strokes in that score, isn't there? Those are very hard to play live.
I wondered about the same sort of thing Guy mentioned - what would Stravinsky think? If he wasn't biased against modern elements such as the technological approach, he probably would like this as it is very faithful to the score. I have around 20 recordings on CD and LP, including two different ones conducted by Stravinsky, and this recording though digitally created is not a mere stunt, but quite musically valid right alongside those. It is interesting to hear how various elements of the score - which is blisteringly difficult for a live orchestra to play - are actually clearer in this MIDI performance. And of course, the famously difficult changing irregular meters, so easy to screw up sitting in an orchestra (or waving one's hands in front of an orchestra) are absolutely perfect in MIDI. That also makes me think Stravinsky would like it - the accuracy of rhythm possible this way.
Jay, here,s Photoscore http://www.neuratron.com/photoscore.htm
I think with printed scores it is meant to do a good job but the more complex the score the more tidying up there will be. Worth a look. And I would bet my bottom dollar that someone somewhere on the web has already created a score of the rite and any other major work either in sibelius or finale.
Yes, I was wondering - what could someone do that could outdo this? And of course the Alpensinfonie came to mind. However, since programming it would result complete homicidal madness, I don't advise anyone to take that step. Purely on altruistic grounds.
Jay, don't even think about it. You need rest now. No more MIDI for you. At least for a good long period of recuperation. Or the men in white coats will soon be calling. Trust me on this.
BTW, does anyone notice how nobody asks a lot about this, specifically, concerning anything? And why is that? I would wager it is because, to some extent, Jay is now the Yoda of MIDI. They realize they must first attain the Mystic MIDI Apprentice Level, and only then, when sitting forlornly outside the Monastery of the Old MIDI Masters, can they be taken seriously as Disciples.
I have in fact seen Jay outside the Monastery, when he made a brief appearance from within the Iridescent Fractal Gates, and he actually does have long pointy ears and a bald head. And he is extremely short and handles a light saber fairly well.
On top of that, he has personally told me, when I pathetically complained about Sonar, or begged for some hint about the Nine Hermetic Secrets of the MIDI Way, to remember always -
Do or do not MIDI - there is no try.
This is an amazing feat of arranging. Congratulations Jay. Nice to hear the lower horns for a change! But there is one sound that doesn't work well enough - muted trumpets!
Which reminds me, where are the muted horn samples for the Special Edition? Please can I have some?
Ross
I would love to download the mp3 for this, but all I get is this message The file http://vsl.co.at/downloader.asp?file=/Sounds/MP3/VI_DEMOS/Rite_of_Spring/Rite_of_Spring_Part1_complete_A_Kiss_of_the_Earth.mp3 cannot be found. Please check the location and try again.
Anyone else having this problem?
welcome basso,
the downloader from the player is based on an older technology and according to the huge number of downloads it seems there was a memory problem and it did no longer respond.
the issue is fixed for the moment and i ask you to revisit - sorry for the inconvenience,
christian
Mmm... the soft part are very convincing indeed...
The poweful parts also sound quite realistic with the right articulations, but they tend to sound very MIDI quantised which is a shame.
But nevertheless,it's impressive
no other sample library comes this far...
Amazing Work Jay! i was wondering since sunday morning why nobody was posting anything about this! Truly incredible. Congrats Jay.
What about some Korngold next? Maybe the Sea Hawk Main Theme
I did not have that impression about the quantizing of loud parts. I am usually very irritated by that problem and did not notice it at all here. I think you may be reacting to the fact that the piece is played very accurately - not inhumanly accurately, but more accurately than usual with live players. That is one thing I find interesting about this - to be able to hear the rhythms so clearly. I have heard numerous recordings and they all vary radically in sound and feel, due to the extreme difficulty of playing it.
Well, it sounds too perfect for a real orchestra... so that's not human...
but still, as this being a detail, any other sample library would make the entire project impossible to even think about.
@bartdelissen said:
Well, it sounds too perfect for a real orchestra... so that's not human... [...]
Good point!
I don't want to argue if this is the case or not with Jay's great version of the "Rite" - I just find the question [i]per se[/i] interesting if a musical perfomance _has_ to be "human" (read: like we are used to hear it), or if it wouldn't be a valid point-of-view to say "This is how it was (maybe?) meant to sound like". Having quite a background in electronic music, I have to say that "perfect" timing can have its charm in the proper context, so why couldn't this be true for so-called "orchestral" music, too ...?
... but this is a topic for a different thread. I don't want to hi-jack this one.
