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Ok,
as I age, carry on with my endless search for clients and keep surviving on SE+Suite*, my musical research becomes more morbid and sterile.
😃
Now seriously, I am just curious to know whether:
- you've ever tried an extreme LCR orchestral mix
- how do we turn our beautiful VSL samples into mono, should we wish to
Best regards
Francesco
*I love them anyway
Ok,
as I age, carry on with my endless search for clients and keep surviving on SE+Suite*, my musical research becomes more morbid and sterile.
😃
Now seriously, I am just curious to know whether:
- you've ever tried an extreme LCR orchestral mix
- how do we turn our beautiful VSL samples into mono, should we wish to
Best regards
Francesco
*I love them anyway
As I age I find it harder and harder to understand exactly what the hell it is people are talking about on the forum but I think I get the gist of what you're saying.
LCR:
I actually tried this approach once with VSL samples but the results were laughable to say the least. Basically, it was like listening to the orchestra while sitting on the conductor's shoulders like a child. It wasn't exactly the effect I was going for so I abandoned that method but it seemed like a good idea at the time😛
However, your experiences may be different.
As for mono tracks, if you use a DAW you should be able to bounce the tracks to mono but I'm not sure if there's a way to do it within VIP or VIP Pro or notation software for that matter.
LCR:
I actually tried this approach once with VSL samples but the results were laughable to say the least. Basically, it was like listening to the orchestra while sitting on the conductor's shoulders like a child. It wasn't exactly the effect I was going for so I abandoned that method but it seemed like a good idea at the time😛
However, your experiences may be different.
As for mono tracks, if you use a DAW you should be able to bounce the tracks to mono but I'm not sure if there's a way to do it within VIP or VIP Pro or notation software for that matter.
Well now that you mentioned it I have experimented with string ensemble panning. For example, I once did a piece that had two viola sections panned hard left and hard right with a single violin section in the center. I liked the results for that so much that I kept the template that I created. The double viola sections tamed the normally screechy string sound but I find myself attracted to the darker string sounds anyway.
I think the viola(s) sound is one of the best kept secrets of the orchestra and I'm shocked that it isn't used more. It's really a beautiful string sound. On the one hand the violin can be too frantic and screechy while the cello, on the other, can be overly melancholy the viola is a happy inbetween.
Oh! I'm sorry, what was this thread about again😕
For example, I once did a piece that had two viola sections panned hard left and hard right with a single violin section in the center.
Let me specify that this was for a Pop/Rock piece that I did and not orchestral per se.
Oh! I'm sorry, what was this thread about again😕
It's not available online anywhere at the moment. At least I don't think it is. And if it is I'm not getting paid for it which is a problem.
I did it on my old system with the old VSL GUI. I'll have to dig it up on the old hard drive and post it. It will take some time as I'm busy with other stuff at the moment.
That's cool
edit: well if you don't get paid it's not cool but I mean, take your time
Personally I find the LCR approach problematic with the orchestral music, because the orchestra is not really a singer/background/drums thing. So many musical moments of equal importance could come from so many different spatial positions. For example, the main theme could be played by the 1st violins, and then by violas, and cellos, and then whatever else the composer came up with. In the "even" panorama this would sound natural, but if one of the sections is in center, it will sound more prominent and "important" than when played by the ones panned, and that might well be quite unintended by the composer.
Well, not to mention the sitting on the conductor's shoulders sound picture, which is pretty hard to avoid :)
I thought I'd rant a bit more about the mix following the composer's ideas and reinforcing them, etc., and how Mahler's (for example) positioning can't be changed too much, but then I thought you know about that, so ... off the soapbox :)
