199,035 users have contributed to 43,150 threads and 258,878 posts.
In the past 24 hours, we have 6 new thread(s), 13 new post(s) and 65 new user(s).
The following is something I did with Sib 7, VIP and the Sp Ed. I cannot hear to balance, but the balance should be correct as I had Sib maxed and the VSL sounds at reset. (Still I think that some of the staccato notes in the viola came out a little loud.)
Hope you like it!
thomamd
It took a non-musician to tell me the mix was bad. She said "the beat" was too loud. As it appears that I cannot trust the meters in Sibelius, I tried a hand at audio mixing. I know that my compositions and mixing will never wow you guys, but I am told that the mix is better.
This is a mix to test the demos of Vienna Suite and <>Beat Koffman's Template.As I cannot properly hear, I am hoping that this software will bridge the gap
The piece was done using Sibelius 7, so all the dynamics were entered into the score. The volumes of the instruments were set equal in VIP and Sibelius 7.
I must say that I am impressed by the result, but do not necessarily like what it did to the panning. Perhaps I should consider purchasing Vienna Suite in instead of Solo Strings as my next purchase. After all, I do not have a use for the sound of the instrument played using the wood of the bow. (grin).
Thanks for listening.
thomamd
Yes, I think the quartet is amusing, however, it is not totally original as I based it on Beethoven that I manipulated.
I think that part of my liking the mix was that it was totally different from what I had done myself. Correct me if I am wrong, but I think that Beat's template tamed the viola that I was struggling with.
thomamd
Hi thomamd
I don't know what Sibelius can offer for mixing tracks but I believe you want be happy specially when ensembles will be larger than just a quartet.
Some possibilities:
A) Use MIRx and the mix is properly done for you.
B) Export an audio file for each instrument with Sibelius, no pan no nothing just pure - Import the audio files into a DAW and use all the effects of the DAW or the Suite Effects for doing a good mix..
C) Instead of a Daw you could probably use the Vienna Ensemble (the free one) inside Sibelius together with the Suite Effects. Then you don't need to export audio files first.
Further you should not only pan instruments to the right or to the left you also should narrow the stereo width and pan then this signal to your taste. And finally you should use monitors for this process.
Listen to them in the sweet spot of the triangle speaker - listener - speaker (60°, 60°, 60°)
All the best
Beat
Thanks for the comments, Beat>
Sometimes, I wonder just what my music sounds like to other people with better hearing. As an engineer once jokingly said, "You can just buy cheap tape and not know the difference!" That is one reason that I use Sibelius...the dynamic is in the score and I hope that the audio reflects that. I try to set everything equal in the mixer, but sometimes the result is not good. Sometimes I export to Cubase 5.
I have demoed MIR, but I used most of my tries figuring out how to use it, so it was not a good experience. (I dislike how it says to try it for 30 days when it is really 25 starts!) I do not think that I can demo MIRx, because I demoed MIR.
VS is interesting, but I do not have the "ears" to use all of it properly. I write a lot and cannot afford the weekly services of an audio person.
thomamd
@thomamd said:
(...)I have demoed MIR, but I used most of my tries figuring out how to use it, so it was not a good experience. (I dislike how it says to try it for 30 days when it is really 25 starts!) I do not think that I can demo MIRx, because I demoed MIR.
VS is interesting, but I do not have the "ears" to use all of it properly. I write a lot and cannot afford the weekly services of an audio person.
thomamd
This is a common misunderstanding. 😕 ... You can actually "reload" the number of starts within 30 days as often as you want, by using the eLicenser Control Center.
MIRx is a different product, so you can demo it as you like. MIR Pro and MIRx use different licenses.
HTH,
@thomamd said:
That is one reason that I use Sibelius...the dynamic is in the score and I hope that the audio reflects that.
Hi again
Take the score from Handel's water music and let play a synthesizer or a program with samples this score. You never will get the music back which we are expecting.
That's because the stile is not noticed. Further, I use samples because of "how they sound" and not because of "how they are called". As an example: Most of the diminuendos start with a little crescendo first (a little bow). So I often use it for setting an accent on a certain note. So how shall I write this in the score.
The only thing I can say once more. Produce a score for musicians how they are used to. Then export this score as a midifile and translate it to really music within a daw.
See this "score" below. The upper line shows the melody and the "notes" in the lower line are the keyswitches for changing the articulations.
How does it sound? Click here. Score Sheet1 / Score Sheet2
So how do you want to implement all these articulations within a score? You also will hear some tempovariations which are not easy to implement in a score as well...
This doesn't mean that Sibelius produces an unusable result together with the samples of VSL. But for en even better result you need to chose the way I mentioned above.
MIRx
I really recommend to try this new MIR. You chose the solo violin in VIPro for example and it appears on the right position on the stage. You have nothing to do apart from chosing the same venue for all the instruments. Each instrument sits on its place and the mix is done. If you arn't use to mix audio signals it is really a very good solution.
All the best.
Beat
@thomamd said:
VS is interesting, but I do not have the "ears" to use all of it properly. I write a lot and cannot afford the weekly services of an audio person.
No one has the ears to do that. Because it is almost infinite in possibilities, as an orchestra is. Also, MIR is probably the best equipment available that will allow a composer to do a professional mix without having an audio engineer. It was designed specifically to address that. You only need to learn the interface which is designed for musicians used to a concert hall or recording studio and very intuitive. Just load a venue, place an instrument in it, assign the correct instrument profile (by having MIR "guess" which it is) and it is ready to play.
P Paul moved this topic from Orchestration & Composition on
