Triple horn is meant to go higher but I don't think it has a thicker sound. [8-)] [8-)]
[[;)]]
Well I don't know what it's meant to do, but I does sound thicker to my ears. I usually prefer it over the standard horn.
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Well I don't know what it's meant to do, but I does sound thicker to my ears. I usually prefer it over the standard horn.
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@herb said:
Higher and a little lower, but that was not the main goal that we've decided to record this horn. We also looked forward to get a different sound.
Choice of instrument, miking and musical performance were dedicated to this approach, which should be of course noticeable. [*-)]
You're probably right, I'm sure I didn't give it a chance, if people say there is a difference then there must be a noticeable difference.
Thanks herb, [[;)]]
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I agree with Guy on the Oboe d'amore being a very different instrument. I was thinking at a basic compostional level, one might want to write for that instead of oboe. But you certainly cannot play an oboe solo with oboe d'amore as they are totally different instruments.
On the french horn I never noticed any problem with the solo, and in fact love it. The triple horn has a deeper tone, and is another wonderful sound, but the regular solo f horn has a beautiful tone I wish I had obtained in my years of practice and performance as a horn player [:'(] Also, the regular f horn is a crossfade sustain instrument, which is huge for the lazy MIDI orchestrator!
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Guy, you are wrong. That composer is excellent. I am deeply offended that you insulted him. I really think you ought to just consider how what you say here has an effect on the people you criticize. After all, they are trying to make a living too.
Also, have you considered removing all mirrors from your household?
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o.K. I needed to explicate more carefully, considering the delicacy of these issues...
Sometimes very talented people develop certain "problems." Rudyard Kipling with his "brownies." Guy Bacos, the fine composer, with this other person who seems to be posting here as well. I have no idea of who he is.
Of course I have no such problems. I am disturbed however by this person named William who keeps sneaking into my bedroom in the middle of the night.
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Well, that gave me a chuckle [:D]
Also Guy - that's a classic! Composing a demo for an instrument, and later forgetting about it and it's sound [:)]
All good stuff.
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Yes that is what I was trying to joke about, that Guy has done so many of these things he seems to be a set of about 4 clones all working on demos. That's why he uses a quad core. He needs at least one processor per clone.
BTW on the original topic, another favorite is the Baritone Horn. This instrument is another example of the increasing perfection of sampling shown in the later releases. The tone is the rich velvety sound of a really good player, instead of the out-of-tune fumbling heard so often in bands. The legato is beautiful, but also there is a 4-velocity sustain version which has a huge range. I was wondering if that is stretched in fact, because it goes down to the tuba range, a low C if I remember right. If it is stretched, it still sounds totally natural. But the range and playability makes it an ideal low mellow brass sound for a wide variety of scoring.
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@herb said:
Baritone Horn?
William, please help me, which instrument do you mean exactly?
It looks like I'm getting into similiar troubles as Guy. [:O]ops:
Maybe I'm drinking too much VSL, I should consider VSL Anonymous for help.... [:D]
A few month ago, this guy sent me a piece I thought was very nice, I asked him who is it by? He said: "You!" I SWEAR, I would never have recognized it in a million years, and I still didn't, so I looked in my arrange files and found it! Of course when I new it was my own composition I didn't think it was so good anymore.....