Hello mw design
I'm just referring to Bach's Badiniere. When I started with VSL 17 years ago, such brook pieces were of course a must. They were good for practicing because one could compare the result with originals. The small community gave each other tips on how to get even closer to the originals...
I advise you to do the same. The mix seems to be somehow in a pot and a bit far away. Obviously you used MIRx and I see the value set to 75% WET. If you want a big distance I recommend you to choose a bigger room (Wiener Konzerthaus). The important thing is to bring down the 75% WET to about 35%. Then the "pot" impression will be lost automatically. You will notice the somewhat strange sound (e.g. strings) by comparing your audio file it with original recordings (Youtube).

A second thing is that with samples not all tones are equally loud when played with the same velocity. Staccati, for example, sound louder with 70 (midi velocity) as legato notes. In your case, some notes almost disappear. Already with the first notes.... daaa da da daaa da da daaa da da daaa ... at least one short note is quite quieter...  that means that you probably have to adjust each tone individually with the preceding and the following one...
Of course only if you really want to do that.

So far a great work with some potential.
Don't know how long it took you. I used to calculate 3 days of work for 3 minutes of music 15 years ago...

Further much fun and success.
Beat

Hi Itchy

Your answer tells me I obviously didn't clearly say what I wanted. So again in a short way.

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A) Your mix sounds pretty discolored because you took too much WET with MIRx (75%). That's why you should compare own mixes with real concert sound every now and then. I did that for you:

Badiniere: Original1-Itchy- Original2-Ichty (mp3) 

With MIRx it is best to set values of 20-40%. If you want to have more tail you can do this with an additional Algo-Reverb. So the discolorations in the sound are no problem.

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B) Some of your notes of the flute are too quiet, so you can hardly hear them, they disappear in the orchestral sound. Probably it has to do with the fact that not all articulations sound equally loud. I played your music at about 70% speed.

Badiniere slow (mp3) For example the sixth note. Daa  da  da  daa  da  da  daa....

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C) Since you are obviously a recorder player, I dug out my old Badiniere again (2006) and remixed a short section with a recorder. By the way of course without MIRx, to show again that it also works without MIR... ;-)

Badiniere Kaufmann (Excerpt, mp3)  Have fun!

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Originally Posted by: Itchy

Thanks for your input, Beat! .... There’s also the concept of making a musical gesture or articulation *more obvious* and intentional, in some circumstances, rather than subtle. Do you find this holds generally true for “cutting through” a mix in the VSL/ MIR virtual world?

Samples are what they are: Samples. If you want to make "music" with them, you have to play them like you do with another instrument. For this you have the different articulations, dynamics and tempo at your disposal (like in the real world). The difference with samples lies mainly in the restriction of articulations, especially with strings and wind instruments.

If you make a "real" mix, you have even more possibilities to bring everything to life with mixing automation (effects, volume, panning, etc.).  Unfortunately, a bad mix can also destroy all efforts before.

Beat

Ups and sorry

Dear mw design, dear Itchy

I'm sorry, I mistook the answer. Unfortunately I assumed the answer from Itchy belonged to my design...
I've obviously become an older man who doesn't quite understand the world anymore.
Nevertheless, everyone can perhaps take something out of my answers above...

All the best and good luck in making music with samples.
Beat

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