Absolutely CM. if you got 'em flaunt 'em. There's no better salesman than a confident one.
Evan Evans
Evan Evans
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Hi Guys,
Thanks for your replies. Evan, I'd be happy to go into details, but I'm not sure if it would be fair on Herb to potentially promote other sample libraries on his website.......
Andy Blaney.
Andy, Herb is one of the most gracious people I know, and one who is secure with himself and his work. I don't see any problem in putting up your instrument list. Afterall, VSL doesn't have muted brass, and a few other articulations as yet. So seeing how you innovated and supplemented this great library would indeed be a great treat for all of us.
Please consider it.
Peter Alexander
peter@truespec.com
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Peter,
I agree. Come on Andy, let's see 'em. We're calling your "hand"!
[:)]
Evan Evans
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Bravo Andy! Beautiful, Personally I really do not care if you did this with a Roland Sound Canvas [:D] or with whatever you have and like. The fact that you did use VSL patches is a guaranty for this libraries qualities. It is just great to listen to it and to admire your talent.
Iwan Roth
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I agree with Iwan in that I don't think it matters in the slightest what Andy used on this besides VSL which is the one really irreplaceable ingredient with its performance samples. Though I imagine the others are either Dan Dean, Miraslav, X sample, Sonic Implants, Kirk Hunter, Siedlaczek, whatever, it doesn't matter. You won't get a performance this good just by getting the same sample libraries. You'll get it by using the ones everyone already knows of with the same musical skill and knowledge of the orchestra as Andy.
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Andy
Great job! Incedible detail! I know how much work goes into creating these mockups of masterpieces. I have attempted to do one on "Holst's Saturn" from the Planets.
I would like to hear your comments.
Please email me at bobluna@earthlink.net and I will give you the address of the FTP server. Again, great job.
B L
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This is surely music-making on the highest level!
Please....god it is not...
hearing the orchestra of paris play debussy's music life is MUSIC making on the highest level.
This is computer programming on the highest level and a brillant job at that...
but anyone with basic piano skills can buy the score to la mer and punch it out.
I am not denying his great skill at using this software....perhaps the best I have heard anywhere...wonderful job
but lets not call this music making for the sake of the musicians that are playing the works of debussy(and the like) and have worked for 8 hours a day there whole life and born with talent to do it.
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Interesting point, Whilst I agree entirely that there's a huge danger of loosing touch with the art of real, live musical performance - It would be a catastrophe if that were to happen - ...
but lets not call this music making for the sake of the musicians that are playing the works of debussy(and the like) and have worked for 8 hours a day there whole life and born with talent to do it.
This is where the debate becomes interesting: does music-making stop when the instrument used is not a violin, a clarinet, a flute...? To me, if the artistic elements of musical expression are all there, then I'm happy to apply the term 'musician' to the person responsible. Of course, the work was meant to be played by 70 or 80 musical personalities, brought together by one more: the conductor. In this case, we heard the result of just one musical personality 'performing' the work. But that's not enough to me to invalidate it as a work of artistic musical performance.
I'd add just one more thing: you mention live performance, and this is something completely irreplacable, both musically and experientially. But compare this track to an orchestral recording, and the edges get blurred. Records are [often] one big illusion. There might be 800 edits on the CD. That's 800 notes, the timing of which was NOT a result of the musicians who played, but of the editing engineer afterwards. That's 800 moments where the artistry of the editor 'played' the music. Let's put it another way: the CD was 'played' by the editor using 800 'samples'! I know this is bending the terms a long way, but the divisions are far from clear-cut. Using samples is like a recording made with an edit for every note (happens sometimes in difficult passages, BTW). The more edits (extreme case: sampling) the more the musicality has to come from the editor (or Andy B in the case of the track we're discussing), rather than the instrumentalists. We've shifted the centre of music-making - but we've not REPLACED it. And I'm confident that we never will.
That's all. Long answer, but I felt this should be said.
Thanks,
Simon
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Nafai 23
You are profoundly wrong.
This is NOT computer programming. It is first of all knowledge of Debussy, secondly, knowledge of orchestral conducting and performance, thirdly, being a good musician, and not fourth but somewhere down the line, computer programming.
If you get a Debussy score yourself and "punch it out" you may find it isn't quite as easy as you think to create this kind of musicality.
William Kersten
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well william I agree but the order is mixed up in what it takes...
Listen I am a professional classical musician full time...juilliard the whole deal.....and..
I think what this guy did is great and I think the software is great.
I think this could start a war and I mainly wanted to address that people are forgetting what real music is more and more in today's society....
If this person had composed this music and used GS to make his ideas come to life I would not discredit him in the slightest...
transcribing a score to a sequencer on any level no matter how advanced is nothing compared to the work a full orchestra does or the gifts that are present in a room full of musicians that could play La Mer at a professional level....not even close. Lets not forget that.
As a professional orchestal musician I will say this though about the work discussed here.....the tech is impressive and the job he did is very impressive.......or to use a better word....scary for me.
It still sounds sterile and cold to a trained ear but nonetheless the best I have heard at a symphonic level to date and a brillant job.
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Using samples is like a recording made with an edit for every note (happens sometimes in difficult passages, BTW).
uhhh....sorry no....not in the classical world...in other arenas I do not have the knowledge to comment.
I recorded La Mer in tokyo in suntory hall...each mvt one take....no edits...
no conductor would ever allow such editing at any professional level....
that type of editing destroys the music.
There is editing but not to this extent and only when totally nesscary...
ok I should not write on this topic anymore [:)]....it is what I do and I will just go on and on...
Ill shut up now.
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@nafai23 said:
no conductor would ever allow such editing at any professional level....
Well, sorry to talk back, ... , but this is dead wrong. I´m also working as a sound engineer and music editor, and the only time I only made two edits in half an hour of music was on a recording of a russian orchestra. Russian discipline is amazing....
However, I absolutely agree with your feeling of scareness. It really makes one think. But I don´t believe that in the near future the cheapo classical CDs will be produced by means of sampled orchestra. Still eastern european orchestras are more dangerous to western europe orchestra life than samplers...
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The funny thing is that in my experience, it is often the ARTIST who insists on "editing on that scale". (I am a producer, editor and also a cellist, so I've seen the recording process from many angles). I was exaggerating maybe a little with the 'note for note editing', but it happens more than anyone is normally prepared to talk about. A recording made up of complete takes with virually no edits because the performance was so fantastic - great! If only that were always the case. But as I was trying to explain, true artistry can take place (and NEEDS to take place) not only on the stage but in the postproduction studio. It's a fact that performers often like to hide from. Editing is not just cleaning up problems, it can also be a constructive process - raising the level of the performance to a higher level than any individual take recorded.
May I also assure you, having recorded some tracks using VSL too (Classic demos section/Hans Gal), that there's nothing to be scared of: to really make music with samples is incredibly hard and immensely time-consuming. I created those tracks precisely to encourage REAL LIVE PERFORMANCES of these works. In fact, they are already arousing interest in the music. But they will never replace those real performances.
So in the end I see it simply as a tool to be able to present an idea of how a piece will sound, so that conductors, soloists, concert programmers, etc. can perform music that they otherwise wouldn't dare to. There are conductors who can judge a lot by looking at the score, but few who really take the trouble to fairly evaluate new repertoire. That's where this technology can help. Surely.
Simon
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@nafai23 said:
If this person had composed this music and used GS to make his ideas come to life I would not discredit him in the slightest...
Naff,
I don't think you're trying to discredit anyone, are you? Don't forget, this forum, whilst enjoying discussion about real music played by real musicians, is, in the the main, about the use of samples and the computers used to utilise them. These sampes are played by, and then recorded by, professionally trained musicians. I remember when I first heard Andy's 'mock up' of the Debussy, I described it (carefully) as a serious piece of 'work'.
Your point about not being able to replicate a real orchestra is well made in my view, and you correctly show great regard for the musicians who are able to perform these great works. So why is the Debussy mock-up scary for you?
As a matter of fact, Andy very kindly posted some of his original works that had been mocked up on his rig, and then recorded by a BBC orchestra. They are on another Forum and well worth downloading and listening to, in my opinion. As Andy pointed out, producers/directors want to hear good mock ups first before they commit to expensive sessions with a real orchestra.
The mock up of La Mere, is simply to show what can be achieved with the current technology in the hands of an expert. I defer to your trained ears, but I have to say, it didn't sound cold and sterile to me. I will say though, that a lot of the euphoria about the piece, was perhaps not just based on Andy's work, but Debussy's orchestration. That kind of orchestration could seem a bit mind blowing to a lot of people, who are perhaps more used to hearing general run-of-the-mill 60 second film score mock-ups.
With regard to to recording La Mere in one take per movement, well, thats unusual.
As Dave says, this is a Forum, and everyone is glad of input, especially from a classically trained Juilliard musician, so welcome. [:)]
Finally, do you use the VSL sample library yourself, and if you do, what do you use it for?
Paul Robbins
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@Simon Fox said:
...I created those tracks precisely to encourage REAL LIVE PERFORMANCES of these works....But they will never replace those real performances....There are conductors who can judge a lot by looking at the score, but few who really take the trouble to fairly evaluate new repertoire. That's where this technology can help. Surely.
Simon
Absolutely, there's the rub.
Audio technology such as Sibelius/GigaStudio/VSL is a fantastic resource for neglected composers and repertoire. I am involved with two neglected composers Havergal Brian (he of the 32 symphonies more than half unperformed and only in manuscript) and Kaikhosru Sorabji (he of the opus clavicembalisticum and hundreds of other unperformed works).
Being able to present conductors with not only pristine performance scores but also decent virtual renditions is only going to make the chances of performance that much better and in some cases virtual renditions may be the only chance of hearing neglected works and I would rather here them virtually than not at all.