@William said:
Wha are you talking about Angelo? You say nothing modern can be done with VSL? that is not true at all.
I was just the other day thinking about how Ligetti would have loved it, as samples almost seem BETTER for his kind of music - pure timbre and shifting sustains - than for old-fashioned music. So I disagree with the implied idea that because it doesn't have some different pizzicati, or every different bowing technique ever invented, it cannot be used for modern music. Though if you are only encouraging the recording of new samples, that is always good. [[;)]]
If it would be only the pizzicato, hee, okay i give it another try...
William, yes it is encouraging a recording of new samples thing. What I like to say is, that the pallet of performance technique in use since more then hundred years is not available with samples. I knew that, I read all articulation paper before I brought the package.
Yes, it has a lot to do with the strings, also for me the strings are sometimes a little more important then the other sections, well, not really, but also there I miss more then there is. I give you and example, I often, well almost exclusively, indicate mutes for trumpets for reasons that the music is rather intimate and hardly gets very loud, there are at least seven different trumpet mutes in use. No, it’s not the left hand pizzicato I’m hoping for. Let’s list what string performance techniques exist: tremolo, muted/sordino, long and short detaché, trills, two pizzicati, flautando, col legno and one sort of legato, this in several dynamics. Here the short list of on-string and off-string techniques I miss every other segment to be composed: collé, piqué, jeté, gettato, saltando, sul tasto, ponticello, col legno, sulla tastiere, spicatto, flying spicatto, sul ponticello tremolo, group spicatto, ricochet, battutta, martelé, detaché lancé, accented detaché, detaché porté, group staccato, stopbow, bindungen, sautillé, louré, off-string marcato, ponticello, pizzicato with the left hand, etc., some of those with repetition of course, i.e. sautillé. I don’t quite understand that not most of you are missing those string techniques. They would make the realization of a composition with samples possible on almost any level. I don’t like to fake a specific sound with something who sounds not even similar. For a test when I got the library and to get into it, I wanted to realize the “Hungarian Dance No. 5” by Brahms composed in 1874, but no, not even this old ham-roll can be done.
Better?
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