Jay, this is great! I'm glad this is going on the demos since it deserves it big time! Along with your others like the Mompou pieces - this is truly an expert use of midi. When I hear something done this well it reminds me all over again of the musical revolution that we are living through right now. It is tremendously exciting to know that we have this level of musical expression right at our fingertips!
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Music from my favorite suite, played by my favorite orchestra! Great recording, also! Thumbs up! [:D]
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@JBacal said:
This mockup of Ravel’s “Little Ugly, Empress of the Pagodas” from the Mother Goose Suite is done using Opus 1, Horizon Solo Strings and Horizon French Oboe samples exclusively.
www.Members.aol.com/jbacal/music/little_ugly.mp3
The mix was done using GS3’s new Gigapulse.
I’m not sure I’m using Gigapulse to its best advantage yet, so any tips would be appreciated.
I hope you enjoy this piece. Your reactions are most welcome!
If anyone wants me to post the midi file or articulation list, just ask.
Thanks for listening,
Jay
Sounds very nice to me [:D] Never heard this piece of music before either.
So is gigastudio 3 worth getting? I was holding off until some feedback arrived from users.
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Thanks for the encouraging words everyone!
James--
I think GS3 is worth getting. Unfortunately, it's not as stable as I'd like on my computer. It's crashed numerous times in the first few days of use. BUT it does load 30% more instruments and achieves higher polyphony before choking my system than GS2.5.
Gigapulse is impressive, but you really need a fast computer (mine is only a P4 1.4 GHz) if you wanna run more than one instance at a time.
Also the added dimensions will be a BIG plus as soon as new articulation files become available for the VSL library of samples. We're talking about playing modwheel crossfade legato instruments with 3 or more velocity layers without even breaking a sweat!
So I give GS3 a qualified thumbs up.
Best,
Jay
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I like that idea of Peter Roos - "my favorite orchestra." The fact is that VSL is a particular and very fine orchestra. It just performs in a very unusual way... and these performances depend very much on the "conductor."
Maestro Jay Bacall in this case has done an excellent job of whipping these players into shape. (Though I've heard he was very cruel to the clarinet player, calling him names when he missed a couple notes then making him stand up in front of everybody to play it right. Naturally this upset the other woodwind players, though the brass of course thought it was funny and the string players were generally bored since they were waiting for some Mozart. But Maestro Bacall's approach ultimately paid off and the orchestra turned in an excellent performance.)
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Hi Mathis,
I used a total of 4 instances of Gigapulse (but my P4 1.4Ghz only runs 1 instance at a time before crashing). I used the Large Hall IR that comes with GS3. I used a different setting for the 4 main sections of the orchestra(Strings, Woodwinds, Brass and Percussion). I used 100%wet/dry mix for all 4 sections, but varied the placement of the sources and the perspective for each. I used close proximity seating for Strings, Woodwinds and far proximity for Brass and Percussion.
As I said before, I'm not certain this is the best way to use Gigapulse. So if any of you can share your own thoughts and techniques, I'd appreciate it.
--Jay
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Hi, a fantastic piece - well done.
I'm interested, was this entire piece played on a single PC, or multiple ones? I have imported your midi file into Cubase and am experimenting with using HAL3 for playback - so far I'm up to five instances of HALion [[:|]]
Also, I cannot find two of the clarinet patches in my Pro Edition KL_oV_fp and KL_oV_wA_3s - what are they if you don't mind me asking.
Many thanks
Tim
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Tim--
The piece was done on 1 computer (P4 1.4 Ghz) with 768 MB of ram. Because of my ram and cpu limitations I had to record the piece dry in roughly 4 sections (Strings, Woodwinds, Brass and Percussion) using Sonar 3. I then put each of the 4 sections (one section at a time) though a different setting of Gigapulse and recorded the wet versions using Sonar 3. Then I mixed (tweaked) the 4 wet tracks to make the final file.
Life (well, orchestral mockups anyway!) would be much easier with more, bigger and faster computers, but a lot can be done with very little. You just have to be willing to put up with some tedious and time consuming steps.
--Jay
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Thanks Jay - a good approach - if you're interested I'll see how much I can get done with HAL on a single PC (at one time at least without the mix down).
What really amazes me is how you manage to construct the four different parts in (almost) isolation. Obviously this work was not an original but still getting a good mix must have been tricky. Would you be able to share your approach in more detail - e.g. how you get an organic rather than quantized sounding end result when working from orchestral scores.
Regards
Tim
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@JBacal said:
Hi Mathis,
I used a total of 4 instances of Gigapulse (but my P4 1.4Ghz only runs 1 instance at a time before crashing). I used the Large Hall IR that comes with GS3. I used a different setting for the 4 main sections of the orchestra(Strings, Woodwinds, Brass and Percussion). I used 100%wet/dry mix for all 4 sections, but varied the placement of the sources and the perspective for each. I used close proximity seating for Strings, Woodwinds and far proximity for Brass and Percussion.
As I said before, I'm not certain this is the best way to use Gigapulse. So if any of you can share your own thoughts and techniques, I'd appreciate it.
--Jay
Jay-
How did you did this exactly? Did you first group the mixer inputs according to instrumental section, then assign a different gigapulse occurance for each group? This seems to be the way to do it, but I wanted to check with you first.
thanks,
Mike
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Tim--
To over-simplify, getting an organic sound is largely a function of "change."
Change the dynamics and timbre of your phrases with modwheel cross-fading instruments.
Change the expression and volume of individual notes (esp. long notes) with midi CC#11.
Change articulations.
Change tempos. Add subtle ritards and acccerandos.
If you quantize, go back and randomize the start and end times of notes so that instruments do not start and stop at exactly the same time. This will prevent that "organ" sound esp. with woodwinds and brass.
Create “width” by panning and placement of your instruments. Create “depth” with your reverb. (There's a good discussion of this in the mixing forum.)
There’re many other tips, but I either don’t know them yet or am too tired to think of them right now. Maybe we should create a separate thread and everyone can contribute their methods. I think this could be very helpful to many (myself included)!
Mike--
What you describe should work nicely if you have the cpu and hard drive speed.
My computer is too slow, so I had to record premixed dry tracks of each section (4 in total) in Sonar. I created a wav file of each premixed track, loaded the wav file into GS3, and then routed this one wav file through a single instance of Gigapulse. I then recorded the resulting wet version of the premixed track back into Sonar. When I had done this for all 4 premixed tracks (using different settings in Gigapulse for each section), I mixed the 4 tracks together in Sonar. Admittedly, this is not the simplest of methods, but it works.
Best,
Jay
