Tom, in that case, the signature IS an ensemble of elements, you don't have to use it as repeated motif. it's "use it at your own attitude" , it's a very basic articulation.
"low basses coming in as the knock comes at the door" is a good one to put on the list too '-)
-
@PaulR said:
Just recently, string effects samples were used in a mockup that had to be orchestrated and and notated etc for an orchestra. Working out the instrumentation and notating the sampled string effects was a nightmare. But that's what they wanted so........
Yes, Paul. This is part of what I'm talking about. If such "FX" are recorded in an insufficiently general way, then it becomes extremely difficult to kind of "work backward" to the notation of the performance. I almost always work in Sibelius, so I don't particularly want "FX" that cannot be scored "properly". By properly, I mean score in the way you would score them for live players... Obviously, there are things that can't really be recorded in such a manner (the 3 trombone clusters are good example), but if at all possible, I'd like things made very general, and flexible.
As an example, it's imaginable that VSL could program a "performance cluster" patch, which looks at the notes played by the user, just checking for the top and bottom pitches of the cluster, then selects the appropriate sampled cluster for playback. That's a simple example, but you get the idea...
J.
-
just my 2 cents. I too use Sibelius and I wish VSL would put together an extensive extended-techniques package along with a book that shows how every articulation performed should be notated. Lately I’ve been collecting books on individual instruments on extended performance techniques and I find that unless they come with a CD, which has recordings of the notated examples in the book you still have to rely on musician friends to insure that you get what you've written. Anyway, it would make for a great sample library as well as a educational package that I’m sure composers & students the world over would be more than willing to part with their money for. Besides, you can easily spend 300.00 plus on books alone, so imagine what a package like this would be worth.
-
Not a new articulation, but it would be nice if we had a search box in the patch (or matrix) listing whereby one could instantly list anything matching the string. Then we wouldn't have to click in and out of folders all the time to find (especially) those lesser-used patches.
On the subject of new features (as opposed to new articulations), some new helper software should be built into VI that would enable one to play cresc./decresc. over single tones and over multiple tones, figuring out on the fly whether and how to cross-fade, use dynamic samples, or whatever might be appropriate ... and let that new software be configurable. The end result should be that under-the-hood programming takes care of making basic phrasing happen.
In other words, build some musical knowledge representation into the software (which right now only "knows" about legato and repetition). Add crescendo, diminuendo, and ultimately even shoot for "knowing" about where in the bar or phrase one is and letting sample selection be driven by that knowledge. Could save thousands of hours of drudgery. (q.v., SuperConductor by Manfred Clynes, for example).
- Paul
-
@Paul Henry Smith said:
it would be nice if we had a search box in the patch (or matrix) listing whereby one could instantly list anything matching the string
oooooh, yes, yes, yes, yes! Sweet idea, Paul! I loathe clicking through all those tiny little folder icons...
J.
-
I am not replying to the previous entry here, I am just taking off where I left last time, where I believe I was the only one suggesting amidst discussions of Alpine horns and african harps and what-have-you (which I would also love to have - the more the merrier...) the creation of a DVD dedicated solely to choirs with words (shared with a couple of other composers here), but more importantly, solo vocalists with words, and as many dynamic ranges and articulations as possible. Well, a different company which won't be mentioned here for propriety purposes (but who everyone knows which is meant) has already started the proverbial ball rolling on just that! William, you can judge the results for yourself (as everyone else can), and even if you think they are dubious, there are four points to be made:
a) It is only the relative beginning of that development;
b) if we compare the rest of that company's products to date to those of the VSL we can only assume that the latter company's excursion into the human solo voice would a priori be expected to come out superior;
c) that a company's products are only as good as the end user's technical abilities (something easily proven by listening to different composers' demos here), therefore seemingly "dull" samples can be magically transformed by engineer expertise, and that
d) knowing that we are not getting Callas exactly, how great for those of us who are still interested in genres such as lied, opera, cantata, oratorio, mass, musical-theatre, would it be to be able to create mock-ups for potential performances, or as good approximations to the real thing as those of say Temple, Bacos, and Bacal, to name three of the many talented individuals here who pave the way...
How about it Herb?
-
-
