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For the third rehearsal, I've done some more experiments, and found that increasing Legato Blur to 64 (half scale) was a good compromise. I also did a finer work on vibrato, and this also proved a noticeable improvement.
I'm discovering more and more the qualities of Dimension Strings!
Paolo
The exact articulation I'm looking for the three-note motive in anacrusis is the performance détaché. This is a legato where each note begins with a bow change, making them slightly but smoothly accented.
This is unfortunately unavailable in Dimension Strings. Something similar is in the legato repetition, but then notes last too little (it's about a half-second détaché). Time-stretching doesn't seem a viable solution.
This articulation is also available in the new Elite Strings, but also in the old Solo Strings. Blended with Dimension Strings, these latter seem to do wonders. I'll see how it works with all the melodic lines.
Layering in Dorico is not a quick task, since all CC data are to be entered by hand again, with no chance to copy and paste them in different staves.
Paolo
Thank you for your kind words, Macker! I hope to have nailed most of the issues Andi was highlighting, and made it alive enough to be credible.
I still doubt if I should keep the higher dynamic point so high, letting the music "explode", or should make it more subdued. Using sordine would probably already tame the dynamics, and this is something that I have to try.
Paolo
This combination sounds completely natural and very pretty. Nice work.
I bought Elite last night. One strong motive was to try it alongside SDS in a Wagner piece that has lots of divisi throughout. Thanks to your demo I'm now confident that these two libraries can share the stage very well.
I had to jump in quick to catch Elite's introductory price, but I'm afraid it might be quite some time before I'm ready to post a demo.
I'm hoping to use ES/DS divisi combinations in a way that to some small but vital extent will help my orchestra depart from that all-encompassing homogeneity which Karajan always strove to achieve. I believe we can now move onwards from that particular ideal (as the Berliner Phil with Rattle have already done); wonderful though it was as an ideal in its heyday.
But before I can get busy adding ES to DS in the piece I'm working on currently, I have to concoct a decent way of applying sordino to Elite in all but the CB section - and this is a horribly complicated and time-consuming task to do well. In the past I've used simple EQ profiles to approximate sordino but have never been satisfied with the results. I've started building more complex automatically-matched EQ profiles, but I'm thinking I might have to use at least two different such profiles per section: one for lower notes, one for higher notes. We'll see. It appears the mechanical-acoustical consequences of using that simple little rubber gadget are far from simple.
Anyway, I digress. I'd say you're better placed than me right now, Paolo, to take us forward with our new Elite addition to the family.
Thank you, Macker! Actually, while continuing to eat well at home, this week I had a chance to go eating a couple times to a Greek deli at the harbor. Not the typical chain restaurant, but a true family kitchen. Home-made pita, moussaka, a few dolmades. And a few kataifis. With a small bottle or retsina.
I had my rewards! :)
Paolo
P Paul moved this topic from Orchestration & Composition on
