<a name="planetz-file"></a><a href="http://www.iface.ne.jp/~ken/gpopowerup.mp3"><img src="/forums/images/listen_icon.gif" border="0" alt=" Song"> Song</a><BR> <a name="planetz-tag"></a>Genre: Acoustic<BR> <a name="planetz-tag"></a>Uses: Pulsar Effects,Pulsar Mixers<BR> kensuguro<BR> _____________________________________<BR><BR> I had some time to practice my GPO strings modulation the other day, so I spent a whole day just practicing modulation control. And it really made a lot of difference!
What happens in Garritan personal orchestra is that the modulation controls expression, and also some EQ setting (within the sampler). From what I hear tho, it's mainly a channel volume control. So in other words, once I master the art of modulation control, I can use this technique with any sampler using expression CC.
2 short tunes:
http://www.iface.ne.jp/~ken/gpopowerup.mp3
http://www.iface.ne.jp/~ken/gpopowerup2.mp3
By the way, I'm using SFP reverb and it sounds sweet! Tricks to achieving this sound is to set the lowpass to around 9000hz (pretty high), and also use the highpass and set it to 200hz or so. You want to keep the high end in the reverberation. That's what seem to causing the strings "shimmer".
2 practice symphonic tunes
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Nestor
- Posts: 6683
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Pleasant they are, very much so, the use of the reverb, as you said, it’s sweet and nice, just appropriate for the kind of music.
The tunes:
The first tune sounds more realistic to me, than the second one. In the second one I can’t avoid hearing a keyboard being played by a single person, and the charm of a real orchestra disappears. Perhaps attacks and ends should fade a little more into each other, like it happens in real orchestras. I think your technique needs to nurture in some other ways as well, regardless of your great capacity as a programmer.
I’m sure you have been to many classical concerts already Ken, but that would be rare to find somebody going to a concert for actually listening it with the precise AIM of emulating the way a real orchestra modulates live, I know this is bizarre, but it works and this is what I strongly recommend you, by experience. This is very useful Ken, just go and get a ticket for some good strings concert, and get to listen them with the AIM of understanding how they sound up in front of you. Unfortunately, classical recordings have never been capable of capturing all those special, magical modulations only heard live, when the orchestra is actually playing for you. For some reason, this bigness or hugeness is lost. There is nothing like the energy of a big symphonic orchestra. This will never be emulated completely for the above said, but we can get damn close to it in terms of modulation techniques.
When I have to compose something classical, I try to be careful about dynamics and modulation as you do, but thinking huge… I explain myself: The best results for me, are made through the usage of an intense imagination in place, with a real orchestra playing for me. I imagine the orchestra in front of me, with all its musicians and instruments, there are a lot of people getting ready, it’s a big thing, around 70 to 100 instruments an people are there waiting. When you think this way, it is not possible to let things go sounding as if YOU yourself were playing the keyboard with some orchestral samples, you’re going to capture the SPIRIT of the sound through your imagination. A close “conception” of the atmosphere that 100 musicians generate is relevant here, so to grasp the modulation you are looking for.
I have spend hundreds of hours among classical orchestras playing Doublebass, when practicing composition and most of all, going to a massive bunch of classical concerts. The unique texture of those moments can be captured only there, live. But what I’ve done is going there eventually, to search of the “know how” applicable to my virtual instruments world. It would never be perfect, but as I said, you can get damn close to it!
_________________
Music is the most Powerful Language in the world! *INDEED*
<font size=-1>[ This Message was edited by: Nestor on 2004-02-21 14:00 ]</font>
The tunes:
The first tune sounds more realistic to me, than the second one. In the second one I can’t avoid hearing a keyboard being played by a single person, and the charm of a real orchestra disappears. Perhaps attacks and ends should fade a little more into each other, like it happens in real orchestras. I think your technique needs to nurture in some other ways as well, regardless of your great capacity as a programmer.
I’m sure you have been to many classical concerts already Ken, but that would be rare to find somebody going to a concert for actually listening it with the precise AIM of emulating the way a real orchestra modulates live, I know this is bizarre, but it works and this is what I strongly recommend you, by experience. This is very useful Ken, just go and get a ticket for some good strings concert, and get to listen them with the AIM of understanding how they sound up in front of you. Unfortunately, classical recordings have never been capable of capturing all those special, magical modulations only heard live, when the orchestra is actually playing for you. For some reason, this bigness or hugeness is lost. There is nothing like the energy of a big symphonic orchestra. This will never be emulated completely for the above said, but we can get damn close to it in terms of modulation techniques.
When I have to compose something classical, I try to be careful about dynamics and modulation as you do, but thinking huge… I explain myself: The best results for me, are made through the usage of an intense imagination in place, with a real orchestra playing for me. I imagine the orchestra in front of me, with all its musicians and instruments, there are a lot of people getting ready, it’s a big thing, around 70 to 100 instruments an people are there waiting. When you think this way, it is not possible to let things go sounding as if YOU yourself were playing the keyboard with some orchestral samples, you’re going to capture the SPIRIT of the sound through your imagination. A close “conception” of the atmosphere that 100 musicians generate is relevant here, so to grasp the modulation you are looking for.
I have spend hundreds of hours among classical orchestras playing Doublebass, when practicing composition and most of all, going to a massive bunch of classical concerts. The unique texture of those moments can be captured only there, live. But what I’ve done is going there eventually, to search of the “know how” applicable to my virtual instruments world. It would never be perfect, but as I said, you can get damn close to it!
_________________
Music is the most Powerful Language in the world! *INDEED*
<font size=-1>[ This Message was edited by: Nestor on 2004-02-21 14:00 ]</font>