# Using only 1 library to compose



## dcoscina (Oct 20, 2012)

Once in a while, I like to restrict myself to a single library or libraries from a single developer. I'm currently working on a piece using only Spitfire libraries (okay I cheated and added a tenor sax from VSL but that's it). 

I've done this exercise before using VSL entirely and even Project SAM Orchestral Essentials. I find "limiting" myself to a single library makes me think differently and perhaps more musically to get around potential sonic stumbling blocks. 

Of course some libraries don't immediately lend themselves to this exercise if one wants to write a piece that draws upon the full resources of the orchestra. But I do wonder once in a while whether those chaps who stick with a single developer like Guy Bacos with VSL are in some ways better off since there's no additional learning curve. they can concentrate on the music and the technology becomes invisible. 

I know that, for a while, I almost completely abandoned my sample libs and DAWs in favor or composing in Sibelius 7 because it made me just concentrate on the music and not the production. Being old school, I also find its interface lends itself the best to composing orchestral pieces and I continue to work on a couple longer concert works only using that program. I don't care if it doesn't sound completely real because a real orchestra will end up playing it down the road. 

Anyhow, thoughts on this?


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## Harzmusic (Oct 20, 2012)

I've done that kind of thing too. For one piece I limited myself to the VSL Special Edition Std.
It's also a good method to keep yourself from cluttering up the arrangement. For example if you don't use brass, ethnic percussion or orchestral cluster and effects, you have no chance to cover up a clumsy composition with huge sounding epic stuff.
Not only that you can improve your composition skills this way, but you get to know the library you are limited to way better and can use it combined with other libraries more effectively.


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## dcoscina (Oct 20, 2012)

I agree. THen again, I'm not really prone to laying on a lot of stuff. I generally dislike using percussion unless it's for accent purposes only. At least for my orchestral compositions. I prefer rhythmic ostinati in pitched instruments to generate a sense of motion. Strings are great for this. Or, if you want to be cruel to musicians, winds and brass.


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## Dan Mott (Oct 20, 2012)

Cool topic.

I do not have nearly as many libraries as some members on this forum, but I do have enough to make me feel a little overwhelmed. Decided what sounds to use is tough because there are so many choices and you really want to make your track so crazy cool with everything you have, but I guess you cannot because things will just get messy.

I'd like to hear from more people about this actually. I'd like to know how they go about choosing their libraries and sounds without feeling like you have an endless world of libraries you want to use.


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## dcoscina (Oct 20, 2012)

I just bought VSL Horns 4 via download since I wanted muted or stopped horns to blend in with the other VSL libraries. Going through all the VSL stuff I have I was shocked at how many articulations, instruments and all that I own! After my Spitfire stint, I'm going to dust off this library and give it a good whirl. I love the VI Pro player and combining instruments and assigning controllers is the easiest of any player out there. And until MOTU can work out a few bugs with performance of Kontakt 5 and DP8, I'm going to settle in VSL land for a while.


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## rgames (Oct 20, 2012)

It depends on your workflow. For me, composition and production are (generally) two different activities.

I compose using only one library. In fact, I (usually) compose using only one instrument - piano. I load up my template, pick a piano (I have a few), split it into a treble line and bass line then block everything out from there. After that, I drag and drop onto whatever instrument(s) I had in mind for the particular line. Then, of course, there's time spent tweaking CC's and articulations in the expression maps, but the piano gets me 60% - 70% there.

I don't think I've ever written a piece that didn't add something of musical significance after blocking it out on piano, so composition and production are not entirely separated in my workflow but the piano does get me the rough form and basic musical ideas.

If that's your workflow then I don't know why you would limit yourself to just one library. If you use a template and expression maps then it's just a drag a drop to try out different patches. Spend a minute or so trying different lines on different libraries then pick whichever sounds the best. After a while you learn to anticipate which line should go where because you learn the strengths and weaknesses of each library.

If you don't use a template or expression maps then yes, I could see an advantage in limiting yourself to one library. The commonality of the patches probably helps speed up the process.

rgames


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## parnasso (Oct 20, 2012)

I think, if possible, one should compose entirely in his head (or maybe occasionally on the piano to check some voices and chords) and see afterwards which instruments are best to "interprete" and execute it... I think one should not limit himself to what a certain library can do.
But of course, if the most important aspect of a production is convincing sound and sonic effect then you have to compose according to the strengths and weaknesses of the libraries you have.
Ideally, in my opinion, the musical ideas should always have priority and not be constrained by technical obstacles. But I know that's not always feasible with virtual instruments...


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## germancomponist (Oct 20, 2012)

parnasso @ Sat Oct 20 said:


> I think, if possible, one should compose entirely in his head (or maybe occasionally on the piano to check some voices and chords) and see afterwards which instruments are best to "interprete" and execute it... I think one should not limit himself to what a certain library can do.
> But of course, if the most important aspect of a production is convincing sound and sonic effect then you have to compose according to the strengths and weaknesses of the libraries you have.
> Ideally, in my opinion, the musical ideas should always have priority and not be constrained by technical obstacles. But I know that's not always feasible with virtual instruments...



+1

But, 

I was so often frustrated when I found out that not only one lib can sound as I hearing my composition in my head. o/~


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## NYC Composer (Oct 20, 2012)

I write track by track at the sequencer using the best sounds I have for that particular piece. I think as an instrumentalist, so it's important to me that the piece sound as good as it can as I go-I find that inspirational.

I used to write out scores for live instruments when I had much more access to them, but never for sequenced pieces.

As to the post topic, I guess anything that stimulates your creativity and makes you more productive is worth trying.


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## dcoscina (Oct 21, 2012)

Great responses! For me, composing and orchestration are inextricably linked (Herrmann also said this one). Having a single library to work with allows more concentration on music and less on the sonic quality. 

Once again, I find that composing into a notation program like Sibelius or Finale is the best for orchestral music. I've gotten so fast with Sibelius that it feels like an extension of my own hand. I'm currently working on a Halloween piece and went right to Sibelius 7 instead of DP or Pro Tools with whatever library. I might transfer it to DAW for a better rendering of the piece but for pure composition I stick with that. I will noodle on the piano once in a while to get the basic framework and structure of the piece down but I try to write for the instruments intended as I find sometimes getting locked into that pianistic feel is difficult to translate into a larger score.

Then again, it worked for hundreds of classical composers and John Williams still uses piano and a 6 stave reduced score when doing his music and he's pretty damn solid.


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## JPQ (Oct 21, 2012)

I also think limit itself few libs... so many reasons i dont like if my project opens slowly. if which is reason what is maybe harder undetstand than other reasons i mean library installing times ,and their price. ps. btw i count itself more purely composer but i still needs sounds what i want use.


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## germancomponist (Oct 21, 2012)

Interesting: This week I archived many files on my hard drives and had found that old Emerald Library from Kirk Hunter. I just played with some patches and thought to myself: Not as bad as so many people are saying. 

I think I will give it another attention. The muted strings are not bad at all.... .

David Newman, for example, uses this lib and told that he is impressed. There must be a reason for this?!


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## JPQ (Oct 21, 2012)

germancomponist: i understanded you like alsoString Essentials 2nd Edition - Peter Siedlaczek which is not so commonly used i at like it based audiodemos and try-sound session. and so many library can be good when used correct way how good library is depends if flexible or good for one special task.... if all goes way what i imagine i try get this string lib. with few others...


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## dcoscina (Oct 21, 2012)

JPQ @ Sun Oct 21 said:


> germancomponist: i understanded you like alsoString Essentials 2nd Edition - Peter Siedlaczek which is not so commonly used i at like it based audiodemos and try-sound session. and so many library can be good when used correct way how good library is depends if flexible or good for one special task.... if all goes way what i imagine i try get this string lib. with few others...



I really like this library too! Not sure why all the hate towards this lib.


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## JohnG (Oct 21, 2012)

parnasso @ 20th October 2012 said:


> I think, if possible, one should compose entirely in his head (or maybe occasionally on the piano to check some voices and chords) and see afterwards which instruments are best to "interprete" and execute it... I think one should not limit himself to what a certain library can do.



This would drive me bonkers if I had to realise the piece with samples. Nothing but frustration.

And besides, this sounds like the old Hindemith saw that if you can't compose away from the piano you're not a "real" musician. Composing at the piano (or sampler or what have you) has worked for a lot of composers I admire.


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## Leosc (Oct 21, 2012)

JohnG @ Sun Oct 21 said:


> And besides, this sounds like the old Hindemith saw that if you can't compose away from the piano you're not a "real" musician. Composing at the piano (or sampler or what have you) has worked for a lot of composers I admire.



And who is Hindemith to say that anyway! Mozart of all people couldn't compose away from his clavier.


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## KEnK (Oct 22, 2012)

Acall @ Sun Oct 21 said:


> Mozart of all people couldn't compose away from his clavier.


Hmm...

I've heard/read quite the opposite.
That his pieces were completely finished before he picked up the pencil.
(or more likely in his case, the "quill".)

k


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## Leosc (Oct 22, 2012)

KEnK @ Mon Oct 22 said:


> Acall @ Sun Oct 21 said:
> 
> 
> > Mozart of all people couldn't compose away from his clavier.
> ...



Yes, there's always idealization with geniuses. Same with Beethoven writing his ninth while completely deaf (he had actually developed most of the ideas and sketches when he was still able to hear). I think what you're thinking of is the famous, but misattributed quote of Mozart about how he likes to compose in his head while walking in the park, and only having to write down the finished score completely from memory when he's back home.
In reality, Mozart had difficulty composing (or maybe didn't want to) away from his keyboard; in one of his first letters to his wife Constanze after he had moved to a new appartment in vienna wherein his piano was still missing, he said that he couldn't start writing again until it arrives.


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