@Nick Batzdorf said:

Anyway, what I mean by "even 16ths" has to do with timing, not timbral variation...

Hi Nick

Thank you for the "open A"!


...Now I think I've got it > you mean "humanize"! ?
Good idea... with the next track.


Beat Kaufmann

Beat Kaufman,
Thanks for putting that description up so clearly - it is a good method, and has some similarities to what I've been trying recently, like using an older sampler loaded with basic sounds to get the notes and tempos down before going into the extreme detail of the VSL sounds. I wondered if anyone else was doing this as a normal working method.

Your method also shows the same thing Herb talked about using - sfz and accented or changing dynamic notes on normal lines, which might not be so obvious at first but is extremely important to get the natural variation of dynamics.

I don't agree with the criticism that there is any excessive regularity of 16th notes - it sounds just right the way it is.
Sincerely
William Kersten

William,
Thank you for responding to my explanations. As you know I'm Swiss, so my mainlanguage is "Schwiizerdüütsch". Therefore I'm also very happy about your sentens "Thank you for putting that description up so clearly".

@William said:

I don't agree with the criticism that there is any excessive regularity of 16th notes - it sounds just right the way it is.

Thanks again!! [:D]

In 1977 I bought the record UMBRELLA / Special Limitid Edition Direct-To-Disc Recordings / Toronto Chamber Orchestra, Conducted by Boyd Neel, UMB DD9.
There the musicians are playing this Mangiagalli-Bach-Partita.
Comparing both tracks:
1977 The Torontos Partita >> st-tt-tt-tac-cato - and often chaos - but it is music as well!
2003 Kaufmanns VSL-version >> quantized - always clear - but ???

So on our way to the reality Nicks idea quantize/humanize the midi-notes should be checked out ... [H]

Sincerely
Beat Kaufmann

Beat,

Thanks for such a generous and thorough breakdown of your Bach Partita realization (as well as the list of instruments.) I'm sure it will be studied by many since the results confirm the method so completely. I know I'm going to try that approach. I was amazed at the short amount of time it took considering the days and weeks some of us spend trying to get things right.

Thanks again for brilliant stuff that would make the Master proud.

Dave Connor

dpcon@pacificnet.net

@Another User said:

As you know I'm Swiss, so my mainlanguage is "Schwiizerdüütsch".

Gruetsi! (Spelling?)

@Nick Batzdorf said:

Gruetsi! (Spelling?)

written:
"Grüezi"

spoken:
G = G in garden
r = r in rolling
ü = [Y] (International Phoneticalphabet) you don't have this vocal in your language!
If you know, how to spell the french word "jus d'orange" you get it.
e = a like "a house"
z = [ts] (International Phoneticalphabet)
i = i in international
So it's easy: G - r - ü - e - z - i
This only word shows the difficults with "outlandish" languages.

Maybe Herb will produce some day a DVD with phonethics.
At that time I'll send you the midifile for playing Grüezi. [[;)]] [:D]

Have fun while trying "Grüezi" yourself.
Beat

I know it as "grüezigrüe-zigrüe-zigrüe...." from hiking near Pontresina as a child. You say it to every person coming the opposite direction, in other words.

@Nick Batzdorf said:

I know it as "grüezigrüe-zigrüe-zigrüe...." from hiking near Pontresina as a child. You say it to every person coming the opposite direction, in other words.

Grüezi means hello, hi. But also - if you want - good evening, good morning... it's the original swiss-greating-phrase for every situation.

"tschau" (goodbye)

Beat Kaufmann

Oh, I understood perfectly what it means! But that doesn't mean I knew how to spell it.

I noticed on the download page that you used a light reverb from Samplitude. Could you try using the real time Room Simulator, Halls, and the IR with the 2.9 tail? It would be interesting to hear how it sounds with a convolution reverb approach.

Peter Alexander
peter@truespec.com
310-559-3779