Okay, it's December now, which means that we're officially encouraged to think implausible thoughts (particularly if they relate to commercial products) for about a month. So, I thought I'd post my VSL Christmas wish-list. That's not to say a wish-list for VSL (which I'm sure would be very different, consisting primarily of a forum-posting-restraining order on jbm), but a wish-list for me! [;)]
1) VSL Score: Notation-based sequencing and sample-playback environment for the VSL. Interfaces with the current VIs in order to allow realtime playback/recording (which records to score). But it's main strength is that it actively analyzes the content of your score, *in the background*, as you compose, in order to load *only* those samples best-suited to the music you're writing, thus making it possible to create entire arrangements on one machine.... yup... IMO, the only way it's going to possible, feasible, fast, and entirely musically intuitive... AND you come away with a properly notated score (since sample-selection is coupled with notation) every time! No extra text-bits, no "~C7, 64" crap. Just the music, as it should be written! Hairpins, slurs, tremolos, trills, glissandi, all entered just as you would on a score. Not to mention the fact that all sorts of "user-tricks" like crossfading from legato to sustained notes for long sustains, could be incorporated into the program's "intelligence", thus making any VSL user an instant sample-selection expert. We'd all be able to concentrate on composing, first and foremost. Could it be simpler? (I love repeating this dream to myself, over and over... and over, and over, and over... ad infinitum).
2) VI L3 Extended (Extended Techniques).
Winds and Brass - smack tone, key clicks, multiphonics (mapped only where possible, otherwise standard sustain), overblowing/breath effects, perf-glisses (mapped only where physically possible, otherwise standard legato), timbral perf-trills (mapped where most effective, otherwise standard sustain).
Strings - scratch tone, unpitched bow noise, bowing behind the bridge, artificial harmonic perf-glisses, perf-gliss trills, perf-gliss tremolos... maybe even those funky artificial harmonic trills, as used by Kaija Saariaho (a trill between a stopped note and the "touched" P4th above -- very delicate, but a beautiful sound when done well!).
I'm probably missing many of these, so feel free to ad. It's all seasonal fantasy anyway (seasonal fantasy disorder?).
--- ooh, damn. Just thought of a couple more for strings: unpitched (mute with left hand) and unmeasured ricochet bowing, and unpitched bartok/snap pizz.
3) MIR released. Interfaces directly with the VIs, and with VSL Score. The best sample playback, sample management, notation, and reverb/spatialization available. And running on only 2 machines! Yum.
Okay, day-dream's over. Back to work...
J.
1) VSL Score: Notation-based sequencing and sample-playback environment for the VSL. Interfaces with the current VIs in order to allow realtime playback/recording (which records to score). But it's main strength is that it actively analyzes the content of your score, *in the background*, as you compose, in order to load *only* those samples best-suited to the music you're writing, thus making it possible to create entire arrangements on one machine.... yup... IMO, the only way it's going to possible, feasible, fast, and entirely musically intuitive... AND you come away with a properly notated score (since sample-selection is coupled with notation) every time! No extra text-bits, no "~C7, 64" crap. Just the music, as it should be written! Hairpins, slurs, tremolos, trills, glissandi, all entered just as you would on a score. Not to mention the fact that all sorts of "user-tricks" like crossfading from legato to sustained notes for long sustains, could be incorporated into the program's "intelligence", thus making any VSL user an instant sample-selection expert. We'd all be able to concentrate on composing, first and foremost. Could it be simpler? (I love repeating this dream to myself, over and over... and over, and over, and over... ad infinitum).
2) VI L3 Extended (Extended Techniques).
Winds and Brass - smack tone, key clicks, multiphonics (mapped only where possible, otherwise standard sustain), overblowing/breath effects, perf-glisses (mapped only where physically possible, otherwise standard legato), timbral perf-trills (mapped where most effective, otherwise standard sustain).
Strings - scratch tone, unpitched bow noise, bowing behind the bridge, artificial harmonic perf-glisses, perf-gliss trills, perf-gliss tremolos... maybe even those funky artificial harmonic trills, as used by Kaija Saariaho (a trill between a stopped note and the "touched" P4th above -- very delicate, but a beautiful sound when done well!).
I'm probably missing many of these, so feel free to ad. It's all seasonal fantasy anyway (seasonal fantasy disorder?).
--- ooh, damn. Just thought of a couple more for strings: unpitched (mute with left hand) and unmeasured ricochet bowing, and unpitched bartok/snap pizz.
3) MIR released. Interfaces directly with the VIs, and with VSL Score. The best sample playback, sample management, notation, and reverb/spatialization available. And running on only 2 machines! Yum.
Okay, day-dream's over. Back to work...
J.