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  3. Convincing string runs?

  • Convincing string runs?

    M
    M
    What is a good technique to pull off convincing string runs?

    I used the Opus 2 runs to create this:

    http://www.samhulick.com/misc/s_runs.mp3

    I think it sounds pretty good... problem is, it's kinda hard to put together, and you can't really conform it to any tempo you want.

    Any suggestions?
  • P
    P
    Sounds very good to me! Frederick also had a demo around with a string run assembled from individual repetition notes... however fast string runs for various occasions are always time consuming. You can only pray the availible samples will fit your scenario - dunno exactly how much of the Pro Ed string runs is in Opus 2.

    PolarBear
  • C
    C
    Yup, sounds good.

    For more control you should get hold of Melodyne. Get as close as you can with the available VSL samples and export as audio files to Melodyne. This will allow you to change tempo and shift and stretch individual notes. Long-winded I know but I can't think of anything better right now.

    An indispensible tool!

    Colin
  • I
    I
    Melodyne is very good for tempo- and pitch-changing. The Uno version is standalone, but the Cre8 version can be used as a Rewire instrument, or Melodyne-Bridge to run along with the host sequencer.
  • M
    M
    How did you do that? Did you use repitition mode? I should get the DVD... [:(]
    Miklos.

    "
    I used the Opus 2 runs to create this:

    http://www.samhulick.com/misc/s_runs.mp3

    "
  • M
    M
    last edited
    last edited

    @mpower88 said:

    How did you do that? Did you use repitition mode? I should get the DVD... [:(]
    Miklos.

    "
    I used the Opus 2 runs to create this:

    http://www.samhulick.com/misc/s_runs.mp3

    "


    No, no extras needed. It's just the string runs. I just hit new keys at the right times, and used the mod wheel to change the run direction.
  • R
    R
    Very nice - reminiscent of some of my favourite scenes from Harry Potter!

    Basic tempo and pitch changing can be done directly in your DAW of course. I altered some speeds on runs in logic for a project the other day, and as long as the change isn't too much the effect is still good.

    I also needed to slow a C maj run down by just a teensy bit, so I loaded in a D major run, set the pitchbend to 2 semitones and pulled down on the pitch wheel. This was sufficient to ensure the violins didn't get there before the conductor.
  • D
    D
    last edited
    last edited

    @rawmusic said:


    I also needed to slow a C maj run down by just a teensy bit, so I loaded in a D major run, set the pitchbend to 2 semitones and pulled down on the pitch wheel. This was sufficient to ensure the violins didn't get there before the conductor.


    However, if you'd left it at the original speed it would have sounded very authentic [:D]

    DG
  • R
    R
    define authentic when using samples to virtually recreate an orchestra.

    The paradox is...we (indirectly) have employed a high class group of musicians to record single notes, runs etc. for us put into our computers to, to a greater or lesser degree, clumsily use to recreate an orchestra....

    True authenticity, other than simple one shot single note play back, is only possible with a real live musician playing a real instrument. The phrasing, reaction of the instrument to itself etc, etc.... The joy is getting close to the real thing, even if it takes far longer for us to achieve this. So a pitch change of a tone, within a texture on something as fleeting and also un-together as a section playing a fast run is really not going to make a lot of difference.

    I also tried someone's idea of detuning the 2nd violins to be able to have tutti unison violins employing the same articulations - GREAT IDEA! THanks....sounds great.
  • M
    M
    I am amazed at how we can now, as a single person create a sound that is often very close to the real thing. In fact, to be honest, VSL especially with altiverb, sounds better than a lot of orchestral recordings. Performance is another thing, but VSL is allowing us to replace the orchestra, the engineers, the space used, setting up all the microphones, etc etc and bring it all back to one person. When I say replace, I mean, it might take me two days to put a peice together, but I am doing all those other people jobs - the jobs of all the musicians, and I coud never achieve this sound otherwise, I don't have the resources. So in effect, VSL is not losing jobs for orchestras, because I would never have paid an orchestra anyway - but now I can achieve this amazing sound. It's really incredible to me I wouldn't have dreamed it even a few years ago and yet here it is. When I watch 32 simultaneous stereo instances of EXS 24 jump on the meters in Logic all with pristine VSL samples running, and this amazing full beautiful sound coming out of the monitors I"m just amazed and like "look at this incredible technology what we can do with it now days" and where will it go - I'm just so excited about the possibilities. I can't wait until I can write string lines like John williams did in harry potter (those incredibly fast wonderful string lines). Just amazing. and I"m sure the VSL team will make it possible as they continue to expand on these amazing tools. I for one, as and when the money becomes available, will purchase probably nearly everything they put out especially in the way of traditional orchestra. It's just fantastic. I can't wait for the 24bit versions of everything to be released.

    Miklos.