Sid Francis
Senior Member
Just went to your site, Avery: wow, very very professional music. And if I am not totally wrong the "plings and plongs" in "City by the Sea" are from ERA?
He does? I love his WoW stuff and use Tari's libraries myself. Did you find an interview with David? Would love to know more about him and his work.
Just went to your site, Avery: wow, very very professional music. And if I am not totally wrong the "plings and plongs" in "City by the Sea" are from ERA?
I love the close mic for this kind of instruments. No other way to capture the real essence of them. From my point of view mid or far mics remove many nuances from the instruments and a good reverb can give what you need to recreate a hall.
I see that in the opposite way. Sampling instruments too close actually does not capture the essence. We never hear instruments playing right in our ears, most of the time, we hear them in a hall, a big room, etc. It's the interaction with an environment that co-creates the sound of an instrument.but after recording so many instruments I love the close mic for this kind of instruments. No other way to capture the real essence of them. From my point of view mid or far mics remove many nuances from the instruments and a good reverb can give what you need to recreate a hall.
Well, stereo in a single instrument is not a good idea for a sample library. A small movement here and there from the player and you would get align and pan issues. I can hear them in many libraries out there. I guess everyone of us have a different way to do thingsTari: funnily enough what I miss the most in all orchestral libraries is exactly your mic position
By the way: I would not record your kind of ethnic instruments with a decca tree, that would not capture all the interesting aspects of the of the instruments, thats right. But an angled pair of cardioids 2m above the instruments gave me good details and a wonderfull and dry enough stereo panorama in my own recordings
Dark Era recordings are killer!! believe meAnyway, people love ERAs, so you don't have to be concerted over what I write there. I think the price for all the stuff those libraries contain is amazing, I just like a different kind of sound. Still cannot wait to listen to Dark ERA demos, since maybe the instruments will sound more like those from Persia which I liked.
Held keyswitches can be useful when playing live or recording a live performance, but may be an issue when sequencing and using hidden controls. Not all articulation systems can manage this correctly, and require a dedicated switch to return to a particular articulation. It would be great to have an option on how the system works.Regarding the hold keyswitch: To me it is very useful. You always have the main articulation by default and you get other ornaments by holding the keyswitch.
There is no hidden control. If no key switch is pressed, just the main articulation sounds. Cannot think of an easiest way. What dedicated switch are you talking about? Maybe I am missing some info.Held keyswitches can be useful when playing live or recording a live performance, but may be an issue when sequencing and using hidden controls. Not all articulation systems can manage this correctly, and require a dedicated switch to return to a particular articulation. It would be great to have an option on how the system works.
Paolo
There is no hidden control. If no key switch is pressed, just the main articulation sounds. Cannot think of an easiest way. What dedicated switch are you talking about? Maybe I am missing some info.
I see. I’ll try to implement that in future updates. Engine 3 will be able to handle thatI think he is suggesting some sort of switch/selector thingy on the GUI so that the user can decide the keyswitch behaviour, whether it is a held keyswitch or a sticky keysitch.
Sorry for not having been clearer. I was thinking to this: When recording keyswitches with the actual playing notes, keyswitches can be seen in the score.What dedicated switch are you talking about? Maybe I am missing some info.