By the way, William, yes I have had music played by live ensembles quite a lot, although not for a long time - and when I had strings it was a rare treat (plus I used to do a fair amount of orchestration and then heard other composers' music played live). These days I edit magazines and do smaller music jobs here and there, almost always MIDI plus occasional live overdubs. Ten years as a struggling composer when I got out of college (Berklee) - with intermittent but not consistent success - was enough, and I was happy to land the job as editor of Recording magazine in 1991. Being able to get up every day and work on something I loved doing, without having to beg anyone for work, was great.

The subtext is that I don't feel it's necessary to accuse me of being a wanker to make your point. That's the tack you take when someone is being arrogant, and I've already posted without hesitation that Guy is a more accomplished musician than I am - and I say that without putting myself down but rather putting him up.

Please search iTunes as I suggested and listen to the first several versions of the Air. If you don't hear what I'm talking about then it'll be my turn to suggest that you're the one who needs to go to school before voicing an opinion.

Okay, maybe I'm a little OTT. William's insult is slightly more subtle than my response. :)

I'm not accusing you of being a wanker  When did I say that?  I was just talking about how live orchestras are not always the holy grail they are assumed to be.  I've had 35 years as a struggling composer and still beg people for work after my irrelevant day job. Just forget it.  I have no interest in discussing anything with you.

Well, I'd call someone who's criticizing Guy's AOAGS performance without even having heard his or her music played by an orchestra a wanker. But you're right, I overreacted. Sorry.

 Vibrato,

I completely see what you are talking about.  BTW I think your music is very good, so you are not at any disadvantage there.  You are of course right to emphasize that approach of bringing other people "into the mix."  I have always done the opposite, trying to do everything myself, not out of trying to be the King of the World like James Cameron (hey, whatever happened to him?  He disappeared along with that big boring boat) but simply because I like doing the whole thing or as much of it as possible.    To me the ideal of all arts is not a conductor in front of 80 people, but a lone painter isolated in his attic studio with no one else around, his paints prepared, his canvas blank and white and ready. So the sampling environment fits in perfectly with that ideal. 

 All right, Mr. Batzdorf, sorry if I offended you.