@Errikos said:

I spent my time between London and Brighton. 

There isn't that much between London and Brighton is there Erik? Apart from Surrey. This reminds me of a film called Genevieve. 

Bad english on my part Paul... I spent my time on both, and commuting between the two cities, attending to some affairs of mine.

 I have to get in on this if Errikos and PaulR are mouthing off ! 

btw to the person who taunted Errikos about his compositions - they are fabulous, complex operatic music.  I wish they were more readily available to hear.         

On the original topic, there  is  no one way to work but perhaps the best in general is to get inspired by the sounds that are available.  Which is easy with VSL because there are so many wonderful instruments that naturally make one think - "Wow!  What can I do with that Bass Flute, or Wagner Tuba" (ha-ha! see my other endlessly fascinating post which no one responded to because they were reduced to a comatose state after merely looking at it), or...?  etc.etc.  The VSL sounds themselves are a profusion of inspiration. When you can just press down on a keyboard and hear instantly three great trombone players in a resounding fortissimo or one of the greatest pipe organs in the world or almost any sound imaginable  - what more do you need?  Forget technicalities and go with inspiration always!

Thanks BIll, and Paul, I just saw DG's post. Had I read it before I might not have posted myself (well...). I must say, Daryl's blood pressure and irony seemed to me to have been just a little higher than usual on his post (understandably considering...). I do hope it's not my bad influence.

And inspiration Bill? Not necessary at all with all the fabulous musical-nuggets-and-chips stoolwares available today. I hear there is a great new one out, called Glumina or something...

@Errikos said:

Bad english on my part Paul... I spent my time on both, and commuting between the two cities, attending to some affairs of mine.

Were they affairs of state Erik? [:D]

@William said:

 I have to get in on this if Errikos and PaulR are mouthing off ! 

On the original topic, there  is  no one way to work but perhaps the best in general is to get inspired by the sounds that are available.  Which is easy with VSL because there are so many wonderful instruments that naturally make one think - "Wow!  What can I do with that Bass Flute, or Wagner Tuba" (ha-ha! see my other endlessly fascinating post which no one responded to because they were reduced to a comatose state after merely looking at it), or...?  etc.etc.  The VSL sounds themselves are a profusion of inspiration. When you can just press down on a keyboard and hear instantly three great trombone players in a resounding fortissimo or one of the greatest pipe organs in the world or almost any sound imaginable  - what more do you need?  Forget technicalities and go with inspiration always!

Quite right Billy!

I love the Bass Flute. In fact I would highly recommend VSL's Special Edition Woodwinds that, apart from the Bass Flute also include the Oboe D' Amour. The oboe sound on that is as good as anything out there today and it's been around for quite a while now. There are more, let's say, slighty more exotic woodwinds on that library. It's a must for anyone. The legato patches alone are worth the trouble. 

Orchestration or the way you use different instruments is just about imagination and while there are obviously set parameters ect, I don't see why you can't use just about any mixture of sections available. Experimentation is the key.

When working with samples I would highly recommend that you play the sounds first via a keyboard rather than mouse clicking. Even if you're a crap keyboard player it doesn't matter. Let the sound itself dictate your mood. After all, I believe most amateur writers write to their mood. Nothing wrong at all with that. Professionals on the other hand don't really have that luxury. I spend my time musically between being an amateur (which I find infinitely preferable) to pro (which is fun also). 

@MDT said:

I'd like to hear some of your work if it's available. I'm not trying to be critical of people who enjoy using virtual instruments, that would be silly as I'm one of them. But would you not agree that given the choice, the real thing is preferable? Therefore we can only approximate. If you've recorded live musicians (good ones) you'll agree that V.Instruments, though good for background stuff, are a long way from a real performance. I am only responding to the notion that it is a mistake to write to the samples any more than it is to write to the musician.

Yeah, I've recorded live musicians, for years. I'm not going to be Miles Davis with a samples library, but your belief, only regard what I have as 'background', means to choose be restricted in a way I don't have to be, doesn't it?

this: https://dl.dropboxusercontent.com/u/18778361/Numbered%20playlist%20for%20Box%20Widget/27.%20As%20Alien%20As.mp3

features some somewhat Varese-influenced brass work and there is some expressive flute...

@Another User said:

Here's some of why -- I have to try to setup my keyboard or the VSL presets because it's got 61 keys and all the Vienna presets are made for 88-key keyswitches.  Then map MIDI CC to expression, cross-fade, etc....  How to do this for all different instruments, then set up 30 track templates in Cubase with all instruments laid out, etc....   Does everyone go through this torture? How do you get anything done?

I spend quite some time determining what I'm going to need while I imagine the idea. I'm very happy about it. I'm delighted I have the palette to work with. But to some extent I restrict the ensembles in the first place. Sometimes I start with a lot more than I end up requiring, some times I beef it up. But what I load is a decision I make as I create a world of sound, I'm populating it. rather than a generalized template. some people like that. with VE Pro now there is the option to disable cells and enable them as needed.

I agree completely with that and think that VSL performances are far beyond mere "background" sounds.   I have always disliked the negative attitude of samples being a lousy substitute for the real thing, because I have had the real thing myself and it is sometimes not as good as VSL!  No joke.  Contrary to what some people believe a "real performance" usually includes the following:

1) wrong notes

2) lack of intonation

3) missed entrances

4) screwed up phrasing

5) poor dynamics

6) bad balance

7) inaccurate rhythms

.... and so on for many other issues of performance.  Contrast that with VSL - every issue above is non-existent.  And if you think that you can do better with live - then record it and A/B it right here!  Don't just say that as a general negative principle.  The fact is, people are so jaded today because of mass marketing they think every orchestra is the London Symphony and every actor is Anthony Hopkins.  The reality on the ground - which I have experienced in both music and film - is quite different. 

yes, there are many problems with 'reality'. even if one can afford such as to more or less rise above the worst of that list, phrasing and rhythm could be something one will never have time to solve. I make things that just aren't practical in the real world, first of all owing to the cost.

and that doesn't even get into the problems of recording it.