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  3. What good are the runs? Am I missing something here?

  • What good are the runs? Am I missing something here?

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    I'm new the complete Orchestral Cube, so maybe I'm missing something here, but it seems to me that most of the "Run" samples are useless unless you happen to be scoring something in the exact tempo that they were recorded at.

    Even though they're fast, the tempo is unavoidable. Or is there some other way to use these? The alternation tool seems to be much more versatile at achieving a similar effect.

    In general, I'm thrilled with the library, but these are a mystery.
  • K
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    lets go back.....
    to the FUTURE!!!!!!


    [;)]


    these samples may be more flexible as future software tech's become available. I'm already seeing much more use with these in the form of kontakt (lots more in fact since NI actually did some smart things with their Tim Machien feature)

    who knows what giga 3 will have [:)]

    you cant know the VSL guys for thinking that thes might be usefull to some people as is, and that some would be inventive enought ot use them with time stretching features already available. I'd rather have them, than not have them at all....
    tho thats only because they give you it IN ADDITION to everything else...if they made cuts to add then in it would be a different story.
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    @Another User said:

    I'd rather have them, than not have them at all....
    tho thats only because they give you it IN ADDITION to everything else...if they made cuts to add then in it would be a different story.


    It is certainly fine to have them, I suppose. But I would have traded them any day for, say, a bass clarinet, solo violin, solo cello, english horn or piccolo in the first edition!

    --DN
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    I use them about once every two or three weeks. I record the different scales I need into Cubase and then chop and timestretch as necesssary. It's actually not that hard. Though a special tool someday would be nice.
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    I use them all the time. when lines move fast it is often hard to tell what they are playing so the speed is not that important. I use these patches with the mod wheel so I can make up and down runs. I can make a spiral going up or down and because I tell it when to change it always is in time. You cant't do this with any other lib. When other composers hear the effect they always go "how did you do that? It is one of coolest easy tricks in the lib. you can also extend their runs just by retriggering. They are alot more flexible than you might think upon an initial listen.
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    @Craig Sharmat said:

    I use them all the time. when lines move fast it is often hard to tell what they are playing so the speed is not that important. I use these patches with the mod wheel so I can make up and down runs. I can make a spiral going up or down and because I tell it when to change it always is in time. You cant't do this with any other lib. When other composers hear the effect they always go "how did you do that? It is one of coolest easy tricks in the lib. you can also extend their runs just by retriggering. They are alot more flexible than you might think upon an initial listen.


    Great 'tip of the day' Craig. Thanks for sharing this with all us newbies to the library. I have used the VLn runs on a recent tune and comments are always - where did you record the vlns?? (that's good enough for me).

    I have also used the 16ths Trumpet ensemble - DYN cres (bpm 180) - doubled with the same Horns patch - for a tune that is 110 bpm. Used it to set-up a 'downbeat' (your suggestion) and even though it is not perfectly matched with the 110, it has the effect of a ' human surge' (cresendo and sligthly speeding up to the downbeat.) It will be a 'trick' I will use when a appropiate. The deeper I get into this library the more 'power' I discover.



    Rob
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    @Another User said:

    The deeper I get into this library the more 'power' I discover.



    Pretty cool ? (rhetorical question)

    Still happening for me, and I think as long as i'm inspired to write, it will continue to happen.
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    And I agree with Sharmy - it's almost like a harp gliss, where the length of the run is what's important rather than the tempo. They're ornaments, in other words. (Not to put words in his mouth if that's not what he meant!)


    (P.S. Try the runs in 5ths.)
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    Thanks for all the tips everyone. I'll give them a try--especially Craig's spiral technique and the time stretching.