# Prélude à l'après-midi d'une nymphe (demo for alto flute)



## requiem_aeternam7 (Mar 15, 2010)

*Re: Breakfast at Debussy's (demo for alto flute)*

well damn. I was just admiring a new cue I did today as it has one of the best mixes I've been able to achieve to date. Then I hear this. 

Bah.


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## Guy Bacos (Mar 15, 2010)

Thanks mf and requiem_aeternam7  


And thanks for the title mf.


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## mf (Mar 15, 2010)

You're welcome, it's a good title for your piece.
Good composers borrow, great composers steal, but only the greatest acknowledge it.


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## germancomponist (Mar 16, 2010)

Oh what a nice piece and fine composition, Guy. 

The arrangement ist interesting, perfect! Well done!


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## Guy Bacos (Mar 16, 2010)

germancomponist @ Tue Mar 16 said:


> Oh what a nice piece and fine composition, Guy.
> 
> The arrangement ist interesting, perfect! Well done!



Thanks Gunther, always nice to get your feedback.






mf @ Tue Mar 16 said:


> You're welcome, it's a good title for your piece.
> Good composers borrow, great composers steal, but only the greatest acknowledge it.



Haha! Well if I'm just a good composer I'll be happy with that, and while acknowledging credits. :D


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## michaelv (Mar 16, 2010)

A ravishing and authentic-sounding homage to Claude,Guy. As always, clarity, sophistication and jealousy spring to mind. :wink:


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## EwigWanderer (Mar 17, 2010)

Very nice flute indeed! :D Overall dynamics are also very good... I like this one.

-Rami


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## sherief83 (Mar 17, 2010)

As always, very impressive!!! what a master you are. 

The Muted trumpets, what library are they?


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## Guy Bacos (Mar 17, 2010)

Thanks michaelv, EwigWanderer and sherief83  

sherief, The muted trumpet is VSL, except there is no trumpet in the piece :wink: There are muted horns, I just listened and they could of easily been taken for muted trumpets because of their register.


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## synergy543 (Mar 17, 2010)

Very nice expressive piece. Guy, can you tell us how you are adding expression in the flute line? Is it all recorded in the samples or are you adding dynamics with CC11?

Also, do you ever modulate the filter to add expression? I do this with Kontakt sometimes add a small amount of filter mod along with vol expression CC11. I wish there were a way to scale the amount of modulation in the VI controller as I can do in Kontakt although I haven't found a way to do this yet. Is it possible?


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## Guy Bacos (Mar 17, 2010)

Hi synergie, 

For the alto flute, as any other instruments, I first use as much as possible the natural dynamics available, a recorded cresc. or pfp is more natural than one done with velocity slider with the wheel. After I run out of these and still not satisfied with the expression I resort to doing adjustments with the vel slider, on some pieces it may still not be enough, so there could be about 1 to 3% left of rough ends, I do them with volume, I have no choice. So really no big mystery 

The downloads are more limited in the amount of articulations than the full lib, but as you can see, despite that, you could still get a lot of expression by using the right patches in the right places and with some adjustments, since I did it with the download lib.

In the Vienna Suite/exciter, I was able to enhance the flute sound with a preset already called "alto flute", it's one of the few instrument with a preset, it gave it that extra air.


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## synergy543 (Mar 17, 2010)

Guy, I like you're respelling of my handle! I should consider changing to that name.

Thanks for the tips - very helpful.

Re: Filter - I got Vienna Suite too but I was asking about the filter in the Vienna Player. Do you ever use that and if so, how? I explained how I use Kontakt filters and wish I could do the same with VSL but haven't figured out quite how. The filter seems too sharp (probably 24dB/oct) rather than a shallower filter such as single pole which works better for adding dynamic expression. When you modulate the VSL filter you get a "wah" sound rather than the more subtle timbre dynamic change of a single pole. So I was just wondering what they were thinking and how guys like you use it.

Also (I always have one more thing, sorry)....Do you ever use the matrix presets? I find it more trouble to figure them out than to simply build a new one. And on a piece such as yours, wouldn't you always simply want to build your own matrix with the exact articulations you need for the piece? Just trying to figure out how you work and build a good work flow for myself.

Yours,

Synergie


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## Guy Bacos (Mar 17, 2010)

Hi SynergY :wink: 

I've had VSL a long time now and without changing my tools but rather techniques and approaches, I think I've been able to improve my sound. So I think it's hopeful for anybody on the long term.

I never touch the filter so I couldn't say anything about it. I don't use the matrix since I 'm in the habit of choosing the exact patches I need, but there are lots of things I don't use just because I never took the time to explore them enough. I work exactly as what you see on the video demos, except for when I need to combine a few articulations.


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## synergy543 (Mar 17, 2010)

Exactly as I thought. Thanks.

You do seem to have developed some very expressive performances with your approach (escaping the uncanny valley is so difficult). That, plus I enjoy listening to your compositions.

Now, tell me your secret on how you are so prolific!


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## requiem_aeternam7 (Mar 18, 2010)

Guy. I just listened again because last time was on crappy logitech computer speakers. This time on 8" pro studio monitors. Very lush and beautiful. Opening melody reminds me a lot of the "UP" melody by Giacchino, I hope you know what I'm talking about. The mix stands up very well on good monitors as well. Are you using VSL strings? It's truly a testament to your skill that you are making VSL strings sound much better than what 90% of guys do with LASS on here.


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## Guy Bacos (Mar 18, 2010)

requiem_aeternam7 @ Thu Mar 18 said:


> Guy. I just listened again because last time was on crappy logitech computer speakers. This time on 8" pro studio monitors. Very lush and beautiful. Opening melody reminds me a lot of the "UP" melody by Giacchino, I hope you know what I'm talking about. The mix stands up very well on good monitors as well. Are you using VSL strings? It's truly a testament to your skill that you are making VSL strings sound much better than what 90% of guys do with LASS on here.



Thanks, I truly appreciate the compliment. I saw "Up" the first week it was out and on DVD, I was so happy that Giacchino won. But I never made the connection between my piece and "Up", but after listening the opening again, I could hear it now.


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## synergy543 (Mar 18, 2010)

Guy Bacos @ Wed Mar 17 said:


> I never touch the filter so I couldn't say anything about it. I don't use the matrix since I 'm in the habit of choosing the exact patches I need, but there are lots of things I don't use just because I never took the time to explore them enough. I work exactly as what you see on the video demos, except for when I need to combine a few articulations.


Wow! OK, I got the filter figured out. And the mapping editor. The trick is in to use the mapping editor to limit the mod amount to the filter. So you can apply the same controller to both the expression and the filter (but limiting it so only a tiny bit is applied to the filter). This lets you control both parameters at once without having eight hands. Controlling the filter this way to add expression is very cool and very similar to the results I can get with Kontakt.

I can not believe you've NEVER used this Guy? What about the mapping editor?

Either you're kidding me, or check this out immediately. Extremely useful and musically expressive tools!


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## Guy Bacos (Mar 19, 2010)

synergy543 @ Thu Mar 18 said:


> I can not believe you've NEVER used this Guy? What about the mapping editor?
> 
> Either you're kidding me, or check this out immediately. Extremely useful and musically expressive tools!



:oops:


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## synergy543 (Mar 19, 2010)

>8o I'm so confused.....

I thought you just didn't want to answer my pesky questions cause I'm hijacking the thread about your marvelous composition that so wonderfully demonstrates the VSL Library. But that's the confusing part.... You music already has so much expression in the lines, then its a true testament to how versatile the library is if you can achieve results so many different ways.

But....

I'm still scratching my head. You're such a conundrum.... You're a performance level pianist (I'm more of a one finger guy) yet, you're not using the performance parameters of a library designed for incredibly versatile real-time performance? Why? Or am I misunderstanding? (Or you're pulling my leg?)

Or, do you find it actually faster to simply program in non-real time?

Well, non of this matters (other than I'm trying to figure it out) because you're music is really wonderful and inspiring. Thanks for sharing both the music and the your methods.

Greg


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## Guy Bacos (Mar 20, 2010)

Oh no, I wasn't at all avoiding the question.  I definitely will look into this. Thanks for the tip.


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## Guy Bacos (Mar 22, 2010)

Thanks Nino and Rousseau, glad you liked it! 

Rousseau, I hope your wife won't be mad it me. :D


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