This is a fundamental problem, which is why this is a pretty long suada and why I'll probably address it in several forums. It is true that many explosive problems are not related to one software, but to the fact that each of us always has to use several softwares at the same time.
For example, I use Finale of course for proper notation related purposes but also to enter notes, whenever I have to create audio and/or MIDI files, which I then open in a DAW (Samplitude), where my samples from the Vienna Symphonic Library come into play as the third component. Because I invest a lot of time, I achieve results that receive accolades from some highly famous opera stars. To get an impression: https://www.uli-schauerte.de/orchestra-playbacks/ But now comes the problem: Recently, a conducting professor sent me a number of Sibelius files with the request to assign VSL samples to the instruments in order to achieve a more realistic sound result than would be possible for him without owning such top-class VSTs. I gave him little hope that I would be able to do this in the short time available and at a reasonable price. But it should be worth a try, so I asked him to send me xml and midi files. If you are also a Finale user, you will perhaps already think that finding a global setting that leads to a balance of dynamics has proved to be a naïve illusion. This is due to the fact that in Finale there is an unfortunate interaction and mutual amplification of expression and velocity at work. One could reduce the difference between the preset velocity values (a piano = 49 is too quiet when forte = 88 etc.). But well, these presets could be changed if that would have a beneficial effect on a complete piece. Now the Vienna Symphonic Library comes into play. As you may know, the VSL offers a key switch dump file for Finale, which provides a certain automatism for the matrices of the special edition: staccato points and legato slurs cause the selection of the correct articulations. This is only intended for the special edition, but it is also possible to regroup the matrices for the more noble sounds of the "Symphonic Cube" in such a way that you can use this automatism. Of course, it is unavoidable that at least for tremolos, pizzicati and e.g. muted strings, a few key switches have to be readjusted by hand. However, if due to time pressure, you have to rely on leaving as much as possible to the presettings and automatisms, you will get different results with different approaches, but none of them will be satisfactory. Since I already do the routing of the VSL samples in Finale, theoretically even exporting a wav file directly from Finale could sound reasonably good. I also exported the Finale document as a midi file and loaded it into Samplitude. I also tried the third option, opening the midi file sent by the professor in Samplitude. The result is different in each of the three scenarios, but they are all unusable.
But now to the core of my concern: Are you all more flexible than I am? I claim that I can handle Finale, Samplitude, Vienna Ensemble and Vienna Instruments Pro quite routinely. If necessary, I also include products from EWQL (Choirs with Wordbuilder), but I have no experience with Sibelius, Dorico or Cubase. Do you really have to own and master all the programmes to accept such assignments? Or do you have to say: No, it's enough to be skilled in just one score-writing program and just one DAW, but they have to be the right ones, so sorry dear Uli, your decision for Finale and Samplitude was a double grab in the toilet? Am I just on the wrong track?
I should perhaps have mentioned in what ways the results are all disappointing. The main problem is dynamic contrasts that are too large, too small or faders are moving up and down in a partly mysterious way, apparently generated by the programmes themselves (Maybe Finale's human playback preferences are responsable?) BTW, in case you use VSL samples: Do you mainly choose the "natural volume" option or not? Do you acitivate the "synchronize" button to apply the same option for every channel? One thing every VSL user has probably experienced: I mean the fact that the staccato patches (key switch C1 resp. C6) is much louder than the long note ones (sustain D1/D6 or legato D#1/D#6). (In one of results I sent to my conducting professor, I had globally swapped the "sustain" patches in the strings by "marcato" ones, for they appear more powerful. My potential customer righteously found that strings often are "lacking a clear edge" or so.
If he was wrong assuming that other musicians using other softwares as I do, would easily achieve satisfactory results with practically no manual detail adjustments, I would be the quiet and peaceful person I actually am. (I don't know if he does assume that.) But if so, maybe he‘s right: What is your advice? Would I just have to change or widen my software equipment? Are you all familiar with dozens of platforms? I confess: When I was a music student back in the 1970s even the MIDI era was science-fiction lying in a far future. Since the late 1980s I devoted to Atari, Notator, capella, various keyboards, hardware modules as e-mu systems proteus etc. then kept being up-to-date partially using Cubase, but then Magix Samplitude, I regularly purchased the Finale versions beginning with »Allegro« … then til 2014.5 and 25. But, I mainly am self tought in this regard. Is this my main fault? Do you know the problems I describe ?
What‘s your opinion, advide, experience? Thank you so much for any constructive comment ! Yours Uli
