Guy,
You're wrong. 100% of the time there will be comparisons. That's the way it works.
So you act according to your aesthetic and who cares? Your intended audience (if you're lucky). Do it well enough and people will be interested enough to alter their paradigm to be more in line with yours.
ALL listeners will make comparisons.
MOST listeners, on the other hand, have no idea if they're listening to an english horn, an oboe, or a bassoon but they'll STILL make comparisons. They're going to make associations that are inconceivable at times (mistaking a clarinet for an oboe, or Kenny G for a jazz musician, for instance). The directors I work with who are musically more literate are so much more fun to work for. These people understand that with live musicians the score will sound better, though very similar (as an example).
For those who don't understand, however, reality is not a concern. The demo MUST be the final mix, though. Those clients need to hear it all nice and pretty, and who cares if the voice leading isn't perfect or if a real orchestra would have 16 clarinets. Even then they can say that the music sounds too ORANGE and then what do you do? Is that when you think about how real something sounds?
Orchestras are real. Samples are real. Synths are real. Real is real.
VSL is a tool that can sound real or not. Sometimes the gig needs to sound real, sometimes it's not a priority. Rationalizations aside, EVERYONE will hear the music differently than you do. Even your co-composers (if you're part of a team).
And that's the beauty.
Lastly, William made a great point when he said that we're comparing VSL to the greatest orchestras in the world with the greatest conductors in the world with the biggest budgets in the world that are recorded with the finest microphones in the world controlled by the greatest recording engineers in the world in the finest concert halls in the world backed by the best record labels in the universe...
The Debussy mockup is scary. Period. Any of us would be a lottery winner if we could get a performance like that out of an orchestra.
I've have sessions of real orchestras that SUCK in comparison to my mockups. And this was pre-VSL! We're talking tons of wrong notes, ugly out of tune timbres, and parts that just were not there!
Guy, I don't believe that people are out to get you here but your line of reasoning indicates that you are unaware of a great deal of soundware history and development of this sample stuff, though your description of your career indicates otherwise. This makes intelligent discussion frustrating from the point of view of other more experienced VSL users.
It would seem as if you claimed you were a native of Houston, Texas, but drove all your friends crazy by complaining that it was hot and humid and why can't the government hurry up and develop technology so we can have our own climate controlled body suits but its O.K. because this is just your opinion even though climate issues have been talked to death already but you'd rather not bother looking for these threads and why is everybody upset they're acting like you weren't paying attention when all this went down the first time...
Clark
You're wrong. 100% of the time there will be comparisons. That's the way it works.
So you act according to your aesthetic and who cares? Your intended audience (if you're lucky). Do it well enough and people will be interested enough to alter their paradigm to be more in line with yours.
ALL listeners will make comparisons.
MOST listeners, on the other hand, have no idea if they're listening to an english horn, an oboe, or a bassoon but they'll STILL make comparisons. They're going to make associations that are inconceivable at times (mistaking a clarinet for an oboe, or Kenny G for a jazz musician, for instance). The directors I work with who are musically more literate are so much more fun to work for. These people understand that with live musicians the score will sound better, though very similar (as an example).
For those who don't understand, however, reality is not a concern. The demo MUST be the final mix, though. Those clients need to hear it all nice and pretty, and who cares if the voice leading isn't perfect or if a real orchestra would have 16 clarinets. Even then they can say that the music sounds too ORANGE and then what do you do? Is that when you think about how real something sounds?
Orchestras are real. Samples are real. Synths are real. Real is real.
VSL is a tool that can sound real or not. Sometimes the gig needs to sound real, sometimes it's not a priority. Rationalizations aside, EVERYONE will hear the music differently than you do. Even your co-composers (if you're part of a team).
And that's the beauty.
Lastly, William made a great point when he said that we're comparing VSL to the greatest orchestras in the world with the greatest conductors in the world with the biggest budgets in the world that are recorded with the finest microphones in the world controlled by the greatest recording engineers in the world in the finest concert halls in the world backed by the best record labels in the universe...
The Debussy mockup is scary. Period. Any of us would be a lottery winner if we could get a performance like that out of an orchestra.
I've have sessions of real orchestras that SUCK in comparison to my mockups. And this was pre-VSL! We're talking tons of wrong notes, ugly out of tune timbres, and parts that just were not there!
Guy, I don't believe that people are out to get you here but your line of reasoning indicates that you are unaware of a great deal of soundware history and development of this sample stuff, though your description of your career indicates otherwise. This makes intelligent discussion frustrating from the point of view of other more experienced VSL users.
It would seem as if you claimed you were a native of Houston, Texas, but drove all your friends crazy by complaining that it was hot and humid and why can't the government hurry up and develop technology so we can have our own climate controlled body suits but its O.K. because this is just your opinion even though climate issues have been talked to death already but you'd rather not bother looking for these threads and why is everybody upset they're acting like you weren't paying attention when all this went down the first time...
Clark