Excellent work indeed!

Questions for Jay Bacal:

1. Tempo Map. Are you using a tap tempo to create the tempo map?

2. How do you remember all the articulation keyswitches? is it just practice?

3. Do you play the lines in at full tempo? Any quantization?

4. Do you transpose the whole keyboard to access the low keyswitches at C-1 etc?

Thanks!

First, let me congratulate Guy and Alex on their outstanding work!

Bruce-- to answer your questions...

1. I usually base my tempos on a live performance (or 2) that I admire. I then adjust the tempos by hand in the sequencer to suit my personal tastes.

2. I try to put the same articulations across various instruments on the same keyswitches. I then make a chart of all the articulations and keyswitches and tape it right next to my monitor. In the beginning of a project, I have to refer to this chart constantly. But eventually, I end up having memorized most of the keyswitches.

3. Unless the piece is quite slow, I do not play the parts in at full tempo. I also use lots of quantization. If I had the piano chops I probably wouldn't need to do either of these things. [:O]ops:

However, I do spend quite a bit of effort "de-quantizing" my performances. I use both the randomize features in my sequencer, and I also move many notes around by hand. One of the challenges with ensemble samples in general is that they are inherently too synchronized. The near perfect starts and stops are built-in to each and every note!

One of the ways I try to combat this is to make sure that rhythms of the different sections do not line up perfectly. Another way is to use samples that have a certain "sloppiness" built-in. Herb has stated that he specifically recorded some "sloppy staccatos" for the upcoming appassionata violins. I think this technique will go a long way towards reducing an overly synchronized ensemble sound. I hope VSL records more sloppy performances in the future! [:D]

4. I do not transpose the keyboard because I draw all keyswitches by hand in my sequencer after I've played in the part. This way I can easily experiment with different articulation combinations.

I hope this clarifies my methods a bit. And remember that the only "right" way to do things is the way that works best for your style of playing and composing. Keep experimenting!

Best,
Jay

PS
I can't get Guy's Concerto Cadenza or Bear Prey to play. Please check these links. Thx.

Thanks Jay!!

I don't know how you manage to do these huge mockups... I wouldn't know where to start!

Indeed the Concerto and apparently Bear Prey seems to be lost in quick time. I told herb about it, so I expect it to be fixed shortly. Well it's 6:00 AM in Vienna right now...

Jay, I must confess, your solo violin piece was an inspiration for me to write this violin concerto cadenza, although a bit different. [[;)]]

@Guy said:

Thanks Jay!!

I don't know how you manage to do these huge mockups... I wouldn't know where to start!

With his love for Mahler and Bruckner, Alex is now the reigning king of the gargantuan mockup. His selections send a wave of fear down my spine. [:D]

I hadn't got to the Mahler and Bruckner yet, glad I did though.

Alex,

What an amazing accomplishment! That must of taken you some time to get though it all? What did you find was your biggest challenge doing this?

Jay: thank you very kindly for de-mystifying your excellent skills and craftmanship. I had the impression that you were doing all that keyswitching in real time and I thought: wow a true master of the V.I.! And I still think so whether it is real time or not- your comments on synchcronization are also much appreciated. I'm looking forward to a full VI Orchestra from you in the near future I hope. I am going to tape a card to my monitor too.

Guy: very impressive as well I love your flute work.

Alex: Wow- what verb are you using? how many computers? Mac or PC?

Mp3 links for Cadenca and Bear Prey are fixed.

best
Herb

Thanks for the comments, guys!

Guy: These did take a lot of time to do, but since I tend to spread the work out over a long period I couln't tell you exactly how long each one took. The hardest things for each mockup... Well, for the Bruckner, it was definitely getting a good balanced sound out of the orchestra. So much of the piece uses much if not all of the orchestra that making sure certain instruments aren't overpowering was quite challenging. For the Mahler, aside from tempo interpretation issues, there weren't any hugely challenging parts. Unlike Bruckner, Mahler is very specific in his articulation requests, and 19 times out of 20 VSL has the requested articulation. Balancing was an issue in the coda for the same reasons as it was an issue with the Bruckner.

Bruce: I use the medium stage in gigapulse, with every instrument run through separate reverb instances. After this, I decrease the width of each instrument a bit for stage placement - I've found that width adjustements do almost nothing if I use them before processing gigapulse. After this, I have a pretty good close-up concert stage sound. Finally, I run the entire thing through a large concert hall impulse in SIR, with most of the early reflections cut off. The concert hall sound is still a work-in-progress for me, but until MIR comes along, the method I just described works pretty well for me. I use just one computer, a PC. [[;)]]

All good work - right now I'm highly impressed by listening to Alex' version of 2nd movement from Bruckner's 8th Symphony. I really like the overall sound (... apart from the strange noises in the background [:D] ... just joking). It has a nice, very homogeneous and professional gloss and depth, which adds the last bit of credibilty to a great achievement in programming.

Guy is keeping me busy [:D]
He sent today another wonderful demo:
Some Day, The Dream Will Happen

http://www.vsl.co.at/Player2.aspx?Lang=13&DemoId=4863

best
Herb