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Hi
I want to create a simple Harp glissando of a E7 major scale. When I try to figure out which patch to use I found that the only Glissandi Major Scale patch contains 5 (!) keys: B, C#, E, F#, G#, all of them in 3 speed variation and different ranges.
So what are you going to do if you want to create a harp glissando over a C7 scale?
Hi
Sorry Professor! I always find it difficult to react answers like the one you gave me. Take into consider that english is NOT my first language I hope I can make my self clear. By the term E7 major scale I meant a E Dominant scale, aka the tones of the A major scale (3 sharps), but PLAYED from an E!
That is not possible is it?
Hi Stig,
Have you tried playing the glissando as the actual notes you want. Then you can select the speed that works for you and the respective volume of each and every note. If you extend the note length so that there is a long overlap very realist results can be achieved and of course you are not limited by the presets keys.
Julian
Hi
Sorry Professor! I always find it difficult to react answers like the one you gave me. Take into consider that english is NOT my first language I hope I can make my self clear. By the term E7 major scale I meant a E Dominant scale, aka the tones of the A major scale (3 sharps), but PLAYED from an E!
That is not possible is it?
Sorry for not realising that you weren't a native English speaker. As you have already seen, unless the nomenclature is correct, it is very difficult to get the right answer. 😉
So, my understanding is that you want an A major scale, but want to be able to control the start and end notes. Unfortunately, whilst there are a selection of start and end notes, you have to use whatever was recorded, and if your current need was not recorded, it won't be there. There certainly is a scale of A played from an E, but it all depends on what you want the top note to be, as to whether or not it will be of any use to you.
DG
The most natural sound is of course the recorded scales, but if one is not available, I simply gliss up/down the kewboard with my finger nail in a timely fashion (approx.) and then on the sequencer piano roll, change the accidentals. For example, If you want a C pentatonic scale, you will gliss these notes: c-d-e-f-g-a-b-c-d-e etc After changing a few notes places you will get something like this: c-d-f-f-g-a-c-c-d-f-f-g etc the repeated notes give a more realistic effect, a more familiar harp sound.
Hi Guy
I will do that. I think the Harpe from VSL is very useful and easy to work with, besides the small quirks I have consulted the forum about.
I'm very impressed with your work for VSL, and find it inspiring in my efforts to be more fluent in my work with all those big libraries.
I'm interested in knowing what DAW you are using?
I use Logic Pro X.
This is a recent demo for harp 2 I did with many glissandos done the way I described in the previous post:
Oh my!
Thank you very much 😊
What strings?
And what are you using for harp scale/run/gliss switching - Vienna XY mod/pitch, keyswitches, AM pro... please tell... very interesting in finding a good workflow for the harp gliss/runs...?
The best way to do harp glissandi that are not already recorded is to reproduce exactly what the harp would actually sound, based upon the diatonic scales altered by the pedals. Guy is right to note that you should have doubled notes on various pitches for maximum realism. On my symphony recording -
http://www.cdbaby.com/cd/WilliamKersten1
there were many glissandi that were not pre-recorded, and so I created a basic note pattern that was totally realistic for what pitches the harp could actually set with the pedals. This is impossible to play on a keyboard live, and so I entered it in a very fast step notation approximating what the glissando speed would be. This usually worked out to be 64th notes with various doubled notes based on which pedal setup was being used, though you might use other note values depending on how fast the temp is. Adding a small amount of humanize in both velocity and timing also helps. This approach works so well it sounds as good as the pre-recorded glissandi and is not hard to do at all, as long as you use what a harpist could actually play. This is determined basically by playing the diatonic C scale or raising or lowering it a half step.