# New Piece from Frederick - Moonlit Waterfall!



## Frederick Russ (Aug 13, 2007)

Hi All,

Its been awhile so I thought I would share what I've been working on:

http://www.vi-control.net/mockups/MusicToShare.htm

The first piece, Moonlit Waterfall, is my attempt of blending different string libraries with some cohesion sonically. I spent more time on the actual mechanics rather than structure (EIS etc) but those will come later. If there is interest I will be glad to share what I did here.

As always, let me know what you think, thanks!


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## scottsta (Aug 13, 2007)

moonlit waterfall is gorgeous. reminds me a bit of the main title from raging bull. don't know why. (Cavalleria Rusticana)

scott


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## Niah (Aug 13, 2007)

Great piece and great mockup Frederick!

I'm loving the ambience and emotion on this one.


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## shadoe42 (Aug 13, 2007)

very nice.


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## Frederick Russ (Aug 13, 2007)

Thanks guys for the kind comments! 

The real idea I had with this piece is more of an elaborate test to see how expressive existing commercial libraries can be with some attention to programming, layering and defining space (loose and long reflections). It evolved from there. 

Libraries used:

VSL Special Edition:

Solo Vn, Va, Vc
Chamber Vns, Vas, Vcs
Orchestral DBs
Appassionata Vns, Vas, Vcs

Miroslav Philharmonik:

Violas 2 (heavier vibrato)
Cellos 2 (same)


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## Sid_Barnhoorn (Aug 14, 2007)

Fred,

Lovely piece. I love the violas+cellos heavy vibrato!  Nice work.

Cheers,
Sid


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## Frederick Russ (Aug 14, 2007)

Thanks Sid! You've become quite a mockup champ so it means a lot.


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## Frederick Russ (Aug 14, 2007)

Thanks Rob! Means a lot from you man as I'm a fan of your music.

Yeah, I think its really important to have expression in samples and getting the orchestra to breathe. To me, emotions are a bit like the ocean - always changing and the tides rising and falling. Music is inherently emotional and its pretty easy to observe the way string players like to dig in for expression when playing live - their whole body rocks into it as if the emotion is controlling the bow. Not easy to emulate with samples but some of the tools available now make it possible.


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## artsoundz (Aug 14, 2007)

beautiful...


are you going to expand on that? If not, I will and then call it my own....


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## Rob Elliott (Aug 14, 2007)

Frederick Russ @ Tue Aug 14 said:


> Yeah, I think its really important to have expression in samples and getting the orchestra to breathe. To me, emotions are a bit like the ocean - always changing and the tides rising and falling. Music is inherently emotional and its pretty easy to observe the way string players like to dig in for expression when playing live - their whole body rocks into it as if the emotion is controlling the bow. Not easy to emulate with samples but some of the tools available now make it possible.




Well put. I went to a concert last weekend (Rhapsody on a Theme of Paganini). What those string players were able to do made me never want to write for strings again (if the end performance were samples). But I think you are right - the tools / samples today are getting better and better. Be sweet ifòæ   _„æ   _…æ   _†æ   _‡æ   _ˆæ   _‰æ   _Šæ   _‹æ   _Œæ   _æ


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## Hannes_F (Aug 15, 2007)

Frederic,

this is excellent and very inspiring. The blending is very well done.

Actually it is against the nature of strings to hold out constantly sustained notes, especially loud ones. The only situation I can think of where this happens is the recording of sample libraries  So we need all this blending and controller riding ...

The waterfall piece would almost fool me if I did not know about sample technology. The point where you are giving it away imo are the last notes of the phrases, where you introduce toooo much swell sometimes. Speaking of swells, they should generally not be too uniform. And never destroy the arc.

Aaaand ... there are dynamic swells and vibrato swells and all sorts of mixes in-between. Since you have patches with different vibrato, I would reduce the dynamical swelling here and there and replace it with vibrato swelling.

In the second piece you could try another cello articulation as an alternative: Two slurred (with an accent on the first note), two spiccato. This would add even more energy.

Best
Hannes


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## Colin O'Malley (Aug 15, 2007)

This is my favorite Frederick piece I've heard. Reall nice work. 

Colin


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## Frederick Russ (Aug 15, 2007)

Thanks guys for the input - really appreciated! And Colin - your mockups are incredible so this means a lot.

Nice critique Hannes! With your having a background as a string player this really helps. Some of my friends have bought violins, violas and cellos for themselves to get closer to the instruments and understand the mechanics and inherent peculiarities of them. Currently I've been listening closely to recorded performances of these sweeping passages since they seems to be the most difficult to nail and adding what's learned in each mockup. Appreciated the suggestions.


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## Hannes_F (Aug 15, 2007)

By far the best hint I can give to anybody about strings is to go to an orchestra concert, preferably to one of the front rows, left side.

Then watch the violin players and more specifically the following points:

- When (musically spoken) do they use up-bows, when do they use down-bows. This may seem elementary but once you get a natural grasp on that you will have a WOW experience.

- Second step: When is the contact point of the bow near to the bridge, when is it near to the fingerboard.

- Third step: When does the vibrato start, when is it continuosly played, when don't they use it.

First item is the most important.

Be sure you sit in the front.


Best
Hannes


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## rayinstirling (Aug 17, 2007)

Frederick,

As a new start here I introduce myself to you with a thankyou for these very well recorded pieces. I wouldn't begin to argue with Hannes on the string thing but I enjoyed your recording for the dynamic nature which is a failing of mine. I hope to learn a great deal from you and others, presentations in the forum here.

My Best

Ray


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## Frederick Russ (Aug 17, 2007)

Thanks Ray for your kind words! 

You must know however that I'm still essentially a student of midi mockup yet find much of what I've learned right here at VI. I think you'll enjoy VI since a lot of what I believe you're looking for in regards to midi mockup and composition are here with the people who have gotten quite good at it: Thomas J Bergersen, Craig Sharmat, Aaron Sapp, Colin O'Malley and many others. VI is about musicians helping musicians so see you around the forum!


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## Damon (Aug 18, 2007)

Great work Frederick! The strings sound fantastic. I think they might be the best strings out there right now IMO. They have that nice big Hollywood sound.

I take it they are VI Appasionattas? Man, I really need to save some money and upgrade to the VI just to get these strings. I'm still running the Giga version of the Pro edition.


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## Frederick Russ (Aug 18, 2007)

Hey Damon - thanks man! I've long been a big fan of your stuff!

Actually I'm using Special Edition only - layering the chamber legato/ports with appassionata sustains. The hidden benefit seems to be that the chamber strings add a bit of definition to the appassionata to keep it from getting too much on the synthy side. In your case, you can expect a pretty huge discount for already owning pro edition so you'll be getting legs/ports for solo strings, chamber strings and sustain/stacs of appassionata - for $500 or so!


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## lux (Aug 19, 2007)

Very nice and emotional Frederick.
Liked a lot the dynamics and the melodic sense.

...still miss some slap bass here and there tho 

Keep it up
Luca


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## Jackull (Aug 20, 2007)

Excellent strings mock up very expressive. Sounds like two String orchestra playing. Almost like the Fantasia by Thomas Tallis, forgot the actual title . I think you pulled it very well Fred. Keep it up.

-jackULL


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## Frederick Russ (Aug 20, 2007)

Thanks guys for the comments and for listening!

Yeah, I think layering smaller ensembles with appassionata helps. I don't own the full version of it yet (just Special Edition for now) but plan to get it later. Layering other libraries in general seems to get better results if they're handpicked carefully.


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## JacquesMathias (Aug 20, 2007)

Hi Frederick,

its been a while...

I like very much of this piece. I think you are very good creating this kind of mood.

Best!

Jacques.


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## Frederick Russ (Aug 20, 2007)

Thanks Jacques! I've really liked your music for some time now so I appreciate your comments man. Getting emotional with samples is probably one of the less intuitive things musically but vi chamber strings and appassionata helps!


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## Ashermusic (Aug 21, 2007)

I generally do not comment on other's work but Frederick this is really nice!


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## Frederick Russ (Aug 21, 2007)

Thanks Jay! Also, thanks for taking the time to listen and comment man.


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