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  3. An amazing achievement in sound

  • An amazing achievement in sound

    W
    W
    I have been looking over the videos on the VI, and it is truly amazing, even to someone who has been using VSL since it started. I have done extensive, laborious programming of long, many-track compositions, and it has been the most extreme example of technicality taking over music.

    This work by VSL is an enormous leap forward in this technology. It is unprecedented in synthesized and sampled music. This is the cutting edge to put it mildly and I believe in the future this will be a significant historical achievement. It is computer intelligence applied to the finest musical sound achieved in electronics.

    Sorry if I am overexcited, but this has really got me going!
  • H
    H
    Don't be sorry my friend.
    I think it's cutting edge technology, and hats off to Christian, Herb and the team for an outstanding step forward in music technology.

    The most important parts i see are the patch management, universal mode, and speed control components, but i'm betting the trills, and stacking are going to prove essential in a very short time. And the Ram optimiser speaks of much more load capability. It's an object lesson to other developers in how to handle the world's largest largest, most complex, sample library, and raise the bar to a new level.

    Amazing stuff.

    Regards,

    Alex.
  • H
    H
    Bill, i've just had another look at speed control, in relation to a job i'm working on at the moment. (Seems to be the most practical way of applying the principle.)

    I counted 3 articulations in a 28 bar sequence, and the approximate time i took me to input the notes and program (About 30 mins. I took it easy) There's a couple of tricky bits. I then played the sequence again, as if i were using VI. Given there might be a couple of tweaks here and there, if needed, i'm down to 7 mins.

    It's a rough comparison, but the time saved would be rather useful!

    Regards,

    Alex.
  • C
    C
    Yes. The new interface handles exactly the same tasks (and then some) that would require many tracks and tons of automation. It is quite obvious that the VSL staff uses these samples for composition and aren't just programmers.

    The functionality of the new VI standard packages are superior to any of their equivalent previous packages precisely for this reason. I would trade functionality and ease of use of these sounds over the number of samples or articulations (even the trills) in the library any day of the week.

    It is no wonder that most VSL members feel frustrated right now.

    Brilliant stuff this is.

    Clark
  • H
    H
    Clark, couldn't agree more. And the more i watch and study the videos, the more interested i get. I wonder how much fun Herb and the team have had with this in the development and testing stage. Imagiine how much writing you'd get done as opposed to endless programming.

    Might be time to dust off that half finished Wagnerian style midi piece and do it properly.

    Just in case!

    Regards,

    Alex.

    [H]
  • C
    C
    Alex,

    Even more exciting for me is the possibility of using VI's live. My income is almost exclusively from playing gigs so to have this sonic quality AND functionality in a laptop has me positively GREEN with envy because it will be a long while before I can upgrade under what seems to be the current upgrade policy.

    I have used the non-perf patches live before and let me tell you the other musicians looked at me with fearful eyes. I imagine with the VI version they will run and hide!

    Clark
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    H
    Clark, i hear you. Before a bad vehicle accident, i worked constantly live, and thoroughly enjoyed it, even the travelling and dodgy hotels!
    Restricted to writing for others and studying these days, but that's good too.
    As for your taking the laptop on gigs, did you know you can buy each volume in the cube separately? Makes sense yes?

    As an aside, what sort of gear are you using?

    Regards,

    Alex.
  • D
    D
    Couldn't agree more. When the smoke has cleared (and it's clearing fast) people will realize that a seminal moment has occured in the sampling world. The promise that was first heard in the likes of the Emulator is rapidly being fulfilled.
  • H
    H
    Dave, how are you my friend? Long time no hear.
    Yes, it will take a few days for everything to settle down, and people stop panicking.
    I'm stunned by the cube and VI. Amazing.
    And when i started out, and a fairlight was my pride and joy, any step forward was good news.
    But this is something else.

    Regards, and i hope you're keeping well,

    Alex.
  • C
    C
    Alex,

    You asked for it!

    For pop/country/rock gigs I use a Kurzweil PC-88 MIDIed to a Roland XV-5080 fully blown out with expansion modules and RAM. I use the Peter S. Advanced Orchestra and QL brass samples in that little guy as the samples take up a lot less real estate than VSL. Over the Kurz I use a Hammond clone-wheel organ hooked into a real leslie, also MIDIed to the Roland. Of course, not all the gear goes to every gig. It depends on the music/client, of course.

    For jazz gigs I use a Yamaha p-80. It has the best action and sound of all the 88s IMHO.

    I also toured with Jazz Trumpeter Maynard Ferguson (shameless plug!) for a while and those tours used the best gear of all: acoustic piano!

    My current composing rig is a Keystation Pro 88 and a G4 dual 1,25 with the VSL 1st ed., solo strings, french oboe, and chamber strings. I don't use hardware synths and samplers at home anymore.

    I'm terribly sorry to hear that you had to leave behind a career of performing because of your accident. About 7 years ago I had developed carpal tunnel in my right hand and had to stop playing for two years. It was then that I realized I really needed to pursue composing, as I see you've done.

    Bravo to you for continuing, Alex. In a small way I can relate to your situation.

    Clark

    We now return to the topic...

    Long live VSL!
  • H
    H
    Clark,
    I must be a little older than you then. I carted round (for my sins) 3 saxes, a clarinet, yamaha electric grand, rhodes (when required), pa (Vox, then a bose)
    and a box of mikes, stands, and percussion extras. No computers, but i did buy a sound canvas, and an m1, just for something else to play. And my favourite keyboard was an old farfisa organ i got second hand, and after some work got most of the notes working. Man that thing could sing.
    White Room, Pink Floyd and a load of other stuff.
    I went to conservatory though, and was already composing when i got nailed, so i still had something up my sleeve to bring some cash in.
    And i'm sorry to hear about the carpel tunnel. It's one thing to know you can't gig like you used to, it's another to be in that grey area, can I can't I.
    Maynard Ferguson eh? The screamer? Think i still have some of his stuff at home in britain somewhere.
    I played a P80 a little while ago, and really liked the sound. I've played a bit of jazz, and thought at the time it would sound pretty nice.

    Thanks for the chat!

    Regards,

    Alex.
  • C
    C
    Regarding the VI live:

    I only used a computer on one live gig, just to "test" the VSL. I am wary of weird electrical stuff going on in clubs and hotel ballrooms, but the new VI has me imagining that with a laptop and a power conditioner I might make the leap toward a new live rig mentality. It will be interesting what parts of the VI respond with the least amount of latency and greatest reliability.

    Clark

    P.S. My right hand is totally rehabilitated. I thank God every day that I am back to 100%. Total miracle
  • D
    D
    Doing fine Alex,

    I carted around B3, Yamaha Electric Grand and Fender Rhodes at one time or another - not to mention Rhodes Chroma.

    I think the idea of playing away on a single midi channnel and having all manner of articulations triggering has got us all going. Looks like perf- repititions are finally going to have their day - as are we.

    best,

    DC