No worries! This thread is all about helping us all improve our usage of these libraries, so your feedback is welcome. It does of course carry more weight if you can show us how to do it better
We will be looking forward to your version and any tips / tricks you can help provide.
Oh cmon, we all want to be able to produce music at home that would sound like real players playing. This was always the dream of everyone who is into Orchestral libraries. This has nothing to do with live orchestras. It is like to think that recordings will kill live music...Realis is and was always the goal in this world.Why is that sad though? I think it’s nice that even still, human players playing together live are unmatched - what a great reason to continue to support them, live concerts, and scoring sessions that use them!
Of course, media budgets may not have as discerning of an ear as us - and then there’s the question of how much does the audience notice or care how close underscore sounds to a real orchestra? And can libraries today with good programming suffice?
Still waiting on your rendition
As was pointed out elsewhere, you're right in principle but it has to work in practice. I wanted to respect those slurs too, but they, as recorded, just did not fit into the phrase naturally. Too lyrical. I settled for using somewhat overlapped, longer shorts than the surrounding short shorts for a similar effect. Again, this is always a compromise, and no matter how much effort you put into yours, it will be too.
I'm still a Kontakt luddite, and probably will be for the foreseeable future. I would actually love to leave the Capsule platform behind, but I don't think Sine is quite ready for prime time yet - and, annoyingly, it's still lacking some features that I've grown to depend on (like CC control over mics etc). I'll check in on it again next year though
I almost always use the individual players. It's just Trumpets 1 & 2 and Horns 2 & 4 in the first part, and the third trumpet and two remaining horns (and trombones and tuba of course) join in the second part. I only used the single articulation patches, all spread out across separate tracks - that way I can easily layer articulations with separate timing, velocity and controller data, which I think is often essential to getting the most out of this and other libraries. It can be quite labor intensive though.
Honestly, I wish I had chosen to be a Kontakt luddite for now instead of a new SINE adopter.I'm still a Kontakt luddite, and probably will be for the foreseeable future. I would actually love to leave the Capsule platform behind, but I don't think Sine is quite ready for prime time yet - and, annoyingly, it's still lacking some features that I've grown to depend on (like CC control over mics etc). I'll check in on it again next year though
I almost always use the individual players. It's just Trumpets 1 & 2 and Horns 2 & 4 in the first part, and the third trumpet and two remaining horns (and trombones and tuba of course) join in the second part. I only used the single articulation patches, all spread out across separate tracks - that way I can easily layer articulations with separate timing, velocity and controller data, which I think is often essential to getting the most out of this and other libraries. It can be quite labor intensive though.
Curious to hear how you get along with Modern Scoring Brass. There hasn't been a lot of talk about it on here I think. I still have this nagging feeling that there's a decent library in there but I just haven't learned how to use it right yet, or something. Should spend more on it.
I think it's really hard for any one library to pull off material like this though. If I were to try to render this piece 'for real' I would probably try mixing and matching libraries and try playing to their relative strengths. That might have been a more interesting exercise to attempt, and I might have another go later, but right now I'm also kind of tired of hearing this piece
Thank you for chiming in (and taking the time to listen)! Your tips and advice are most welcome (your thread a few years ago on CSS was absolutely invaluable https://vi-control.net/community/threads/css-elgar-magic.55684/#post-3988968).
Glad you're continuing to refine it! The ending note of the opening motif has a starkly different dynamic than the rest of the phrase - was that intentional?I just added more of everything in v2 of JXL. When I hear the fanfare I think of countless commercial breaks on NBC and to me, it's played a bit hot. That could just be my ears too.
lol...after layering some additional instruments I did play with the note velocities of the last two notes of the trombone section. I was going by ear from what I remembered. It's very likely that I don't remember that part well enough.
I listened to about 15 seconds on my phone do you think that was enough
Yes, those are the Repetitions 16ths patches (set to x2 speed). The note that immediately follows is either a lone staccatissimo, or staccato (for the attack pop) layered with marcato short (for length). Those three articulations - repetitions, staccato, marcato - are all slightly overlapping and with different CC curves. I had to lower CC11 a bit on the staccato to better match the volume of the repetition, and since they're all on different tracks that's easy to do without also fading out the reverb tail of the preceding note. This is why I like separate tracksVery cool that you split the MIDI up across the individual players. Did you use the repetition 16ths articulation for the 32nd notes? The end of those seem crisper than what I was able to achieve in SINE with the ensemble patch. I am still unconvinced on the one track per articulation approach (given how well Cubase expression maps work), but I appreciate your stance
not ideal from a housekeeping perspective exactly, but it makes solving problems like this easier. Although it's still not as smooth and connected as I would like. Would love to hear what you come up with with MSB, or if you have any tips on how to get a better sound or performance out of it. I will say though that I quite like the tone of the horns and tuba.
Nice, I'll probably do the same. I'm gonna give the SINE version a shot and actually go for the reference this time.
Can you share the standard unedited MIDI file so other folks can have a go as well?I know this is very slightly off topic but having had a go at 1984 I thought I'd try 1996. Thought people might like a listen to Synchron brass trying even more notes
I'll move it to a diff thread if this is annoying
I played it in from the score, sorry.
