William, dear fellow, a wonderful rendition!
I've downloaded this one, and will listen intently and regularly to hear how you put this together. And a big hand for Miklos too, for taking on this formidable task, and rendering it so well.

As a listener to the planets on a regular basis, i've often wondered just how big a challenge it would be to perform this with samples. I can barely imagine how many hours it took.

Congratulation to you both!

Regards,

Alex.

Congrats, William, you madman. I dread to imagine the bleeding fingers and bulging, burning "screen eyes"... [;)]

cheers,

J.

Great work, William and Miklos.

After suffering through countless film scores, it was nice to hear the actual composition again which "inspired" so many film composers. [:D]

I think your orchestra has a great "feel"-- the interpretation breathed, which is probably due to the lack of quantization. Quantizing can be the death of virtual tracks, and *not all* interpretive details can be convincingly drawn in manually.

I am curious-- what reverb did you use?

William, glad to hear some of your always musical work again. Exciting rendition!

Best,
Jay

JWL: For the reverb I used the USA mechanics hall in Altiverb. It's not as easy to work with as the Konzerhaus but for this piece I felt it lent something to the piece more then the other reverbs.

Miklos.

@mpower88 said:

JWL: For the reverb I used the USA mechanics hall in Altiverb. It's not as easy to work with as the Konzerhaus but for this piece I felt it lent something to the piece more then the other reverbs.

Miklos.

Thanks, Miklos!

thanks a lot for those compliments. One odd thing about Holst's score is the use of the pipe organ. He just threw it in, I think possibly because it was part of the concert hall where the piece was premiered. It is not too audible, since everything else is so loud.

Someone asked on another thread why do this? I would say first of all (besides it being a job) is that it is the best score study you could ever do. In fact, doing a midi rendition is much more intense study than copying by hand a score. I would never do this kind of work on a piece I didn't really admire. Also, I remember Jay Bacal saying it was a great way to play music. In other words, for the fun of performing music, though in a new way. Or is that distorting what you said Jay? I do notice that when the music begins to come together, there is a magical quality to it. you can hear the music coming into being. The silent score leaps into sound. Though it is great to get live performances also, that feeling you can get in midi, of music being born right in front of you, you don't quite get any other way.

Yes that is very interesting and I think that goes against the general tradition that would assume that computer recordings or music are less human, in fact that is not true at all, unless you quantise everything precisely. It's a very interesting topic this could start a long discussion about this!

Miklos.

One related thing - a performance such as this is a demonstration, and a test of the library because the music was not written for samples. But why is "writing for the sample" bad, when "writing for the piano" or "writing for the flute" etc. is o.k.?

Very nice William, excellent job.

One of the good things about these mockups is the fact that you hear these great pieces of music and it brings you back to them as JWL mentioned.

William is one of the very best at this kind of thing and certainly one of the most expressive composers I've heard using samples.

William,

Amazing job!

Wonderful feel. I am a big fan of 'section slop' as this adds intensity to the work if done well (and it is).

I know you like to consider these sounds as instruments unto themselves, removed from their intended role as a substitute for the real thing. This makes me appreciate your mockup all the more!

Clark

@William said:

One related thing - a performance such as this is a demonstration, and a test of the library because the music was not written for samples. But why is "writing for the sample" bad, when "writing for the piano" or "writing for the flute" etc. is o.k.?

Great semi-rhetorical question, William.

The wonderful thing about writing for human beings is that the performer brings elements to the music that cannot be written down. No two pianists will interpolate a crescendo the same way from the same score. Likewise, no two users of a sample library will effect the same articulations and dynamics the same way. That's why this forum is so great for keeping tabs on how others are accomplishing their goals.

Again, I really appreciate the hard work you've done and chose to share with us.

Samples are an instrument like the organ itself! We write for the organ, and the VSL cube is another technological innovation just like the organ, but it takes it's source from other instruments.

It has been the dream of many inventors for a long time to do what Herb and VSL have achieved, to be able to put all the sounds of the orchestra into one machine that can be access via a keyboard! That was what the organ was aimed at in many of it's incarnations.

Miklos.

This is exceptional. Here's two qualities that I most admire. 1. An ostinato rhythm that never sounds mechanical. It's enough of an achievement to make any sampler rhythm sound human, much less one repeated this often. 2. In spite of the verticality of the score, this recording never sounds "tone-y" or "blocky." Somehow it manages a transparency within its thickness. Great work.

@mpower88 said:

... to be able to put all the sounds of the orchestra into one machine ...

I know what you mean, Miklos, but I couldn't stifle a chuckle at this one statement!

One machine.... hmmm.

"I still have a dream that one day...
~Rev. Dr. Martin Luther King

@William said:

One related thing - a performance such as this is a demonstration, and a test of the library because the music was not written for samples. But why is "writing for the sample" bad, when "writing for the piano" or "writing for the flute" etc. is o.k.?

And that's exactly the point my friend. Whatever the original intent of the score in relation to the intended performance, you have performed this with an instrument, putting your unique and special interpretation into a performance. It has no less relavence than anything else.
This IS a great performance, and a good example of the potential contained within the VSL library. (I wonder if the name 'library' helps to imply some sort of collection of samples rather than a unique and special instrument in it's own right? Perhaps simply 'VSL Symphonic' is a better description?)


Regards,

Alex.

Thanks a lot guys! It is wonderful to hear from you on this.

on what Plowman and clarkcontrol mentioned, I admit I was very concerned about the repeated rhythms. So I only copied large sections in deliberately non-matching layers, never just one measure at a time, and played nearly all in real time. Except for the diabolical 16ths which Holst scored for ALL strings and woodwinds, in a totally off-the-wall combination of individually right but together wrong scales going in every direction during those hysterical sections before the slow middle part and at the very end.

Another thing I did that was a bit weird - on the col legno, which is scored for ALL STRINGS SIMULTANEOUSLY and which (understandably, being rarely used articulations) do not have a huge number of varied repetition samples, I had to use some cheating, since the number of repetitions was perfectly matched to the number of notes in the ostinato (arrghh!!!) --- I decided to do a randomly controlled crossfade between the slow and fast col legnos on all the instruments, as well as some unwritten dynamic changes to vary the attacks, which, if simply programmed at one velocity level, sounded like the dreaded machine gun times five (the number of separate col legnos).

also, on the section slop, I am trying to push it to an extreme. I remember once doing a slowed down re-recording of the New York Philharmonic under Bernstein doing a great performance of "Batuque" - a very rhythmic, spectacular showpiece. I could not believe how inaccurate it sounded, and yet when heard in context, it was a great performance by the (arguably, besides Solti-Chicago, and von Karajan-Vienna) greatest orchestra-conductor combination in recorded history. So I strongly feel MIDI performers have to "re-think" the entire concept of "accuracy" vs. "inaccuracy" in timings, not to mention tunings. Since we are seeing everything in 'slow motion" in a sense, by doing the performances from the ground up.

@William said:

...
also, on the section slop, I am trying to push the envelope there definitely. I remember once doing a slowed down re-recording of the New York Philharmonic under Bernstein doing a great performance of "Batuque" - a very rhythmic, spectacular showpiece. I could not believe how inaccurate it sounded, and yet when heard in context, it was a great performance by the (arguably, besides Solti-Chicago, and von Karajan-Vienna) greatest orchestra-conductor combination in recorded history. So I strongly feel we MIDI people have to "re-think" the entire concept of "accuracy" vs. "inaccuracy" in timings, not to mention tunings. Since we are seeing everything in 'slow motion" in a sense, by doing the performances from the ground up.

I'm so glad you mentioned the Bernstein example. In another thread I tried to explain that the better we understand "reality" the more effective the results will be when creating tracks in virtual reality.

This brings up another thought: wouldn't a col legno round robin patch come in handy?

I recently performed a MIDI test by recording the first minute or so of the first movement of Brahms Fourth using only, in succession, VSL, EWQLSO and the SI libraries. It was quite interesting to observe how wide a fluctuation of timing was required to achieve a similar sound, due to the attacks used, primarily in the strings, by the three- up to 50 MIDI ticks (480= quarter note).

"Since we are seeing everything in 'slow motion" in a sense, by doing the performances from the ground up."

That's it. That's it exactly. Your desciption of col legno reminds me of Serat working with his points.

Recently I was attempting a very simple violin accompaniment, a common alternating pattern of eighth note triplets at about 112 BPM. It was the kind of "barely hear it on a record" accompaniment that often speaks too loudly with samples, and it stranded me somewhere between 0'3s and 0'5s.

We've all dealt with this idiom -- that supporting material so commonly given to strings that needs to BE there and NOT be there at the same time, and one may argue that it is the most challenging string writing to be done with a sampled orchestra. We've got the broad, soaring stuff pretty well covered by now.

Anyway, I copied the notes, assigned the new notes to a whole note trill, and brought their volume way down beneath the short notes. It gave me the "smear" I needed. By itself, the whole note trills (besides being the wrong notes sometimes) would have sounded like a mish-mash. But with the clarifying pitches also in place, and at the right tempo (context being everything), the illusion was made.

Slow motion indeed.

Any ideas what to do next, William? Personal composition, or does another rendering call like a siren? Be careful. I know how absorbing these tasks can become.