It seems that many posts are about computer problems, which are of course important (especially if you're having them) but I hope this forum can also be about the artistic side of things, and so I thought I would ask the extremely talented people I've noticed on this forum if they have ideas about the most expressive things the VSL can do. And how to extend that.
What I've been noticing (as I am attempting to finish a rather long symphony performance) is the importance of using the dynamic-change (within notes) instruments as much as possible. Sometimes this is much more difficult to program than merely using a simple sustain or the layered instruments, but it is worth it. The progamming of the library is extremely accurate in this regard - the sustain instruments match up beautifully at either extreme with the crescendo/diminuendo instruments. I remember Herb noting that he used on the great "Parachutes" demo the dynamic change instruments because they gave more "life" to the line. I was very struck by that, because the lines did not actually have sfz or other dynamic changes written in them but the playing benefitted from using them anyway.
The "espressivo" ff strings are important in this - exactly when to change to them, rather than simply use the loudest of the layers, is crucial. Also, the ff espressivo strings match exactly the forte legati in vibrato as well as dynamic. That is if you want to sustain an intense line.
The other thing I have tried to use is the distinction not merely between legato and marcato but also between legato and portamento. This is a very exacting difference, because it actually involves determining what the exact phrasing/bowing should be. Should it be slurred, or should it be smoothly attacked yet separate?
One general thing is that the library makes me judge my orchestration very seriously. Is it too heavy? Can a solo accomplish as much as a doubled line? The ideal of orchestration is probably something like the transparency of Debussy, and such things are possible in the VSL because of its detail. So these questions actually arise in the course of the recorded performance.
I would add that basic orchestration becomes the most important factor with the VSL, rather than technical/computer aspects. The more detail is available, then the more the problems are purely composition/orchestration rather than computer/technology.
All this is maybe vague but if other people using the VSL have more specifics I'd love to hear them!
William
What I've been noticing (as I am attempting to finish a rather long symphony performance) is the importance of using the dynamic-change (within notes) instruments as much as possible. Sometimes this is much more difficult to program than merely using a simple sustain or the layered instruments, but it is worth it. The progamming of the library is extremely accurate in this regard - the sustain instruments match up beautifully at either extreme with the crescendo/diminuendo instruments. I remember Herb noting that he used on the great "Parachutes" demo the dynamic change instruments because they gave more "life" to the line. I was very struck by that, because the lines did not actually have sfz or other dynamic changes written in them but the playing benefitted from using them anyway.
The "espressivo" ff strings are important in this - exactly when to change to them, rather than simply use the loudest of the layers, is crucial. Also, the ff espressivo strings match exactly the forte legati in vibrato as well as dynamic. That is if you want to sustain an intense line.
The other thing I have tried to use is the distinction not merely between legato and marcato but also between legato and portamento. This is a very exacting difference, because it actually involves determining what the exact phrasing/bowing should be. Should it be slurred, or should it be smoothly attacked yet separate?
One general thing is that the library makes me judge my orchestration very seriously. Is it too heavy? Can a solo accomplish as much as a doubled line? The ideal of orchestration is probably something like the transparency of Debussy, and such things are possible in the VSL because of its detail. So these questions actually arise in the course of the recorded performance.
I would add that basic orchestration becomes the most important factor with the VSL, rather than technical/computer aspects. The more detail is available, then the more the problems are purely composition/orchestration rather than computer/technology.
All this is maybe vague but if other people using the VSL have more specifics I'd love to hear them!
William