Rightly or wrongly, I suspect that now the Vienna Symphonic people have produced every conceivable orchestral instrument (plus harmoniums, double basses and electric guitars etc) and now they're ready to turn their sampling expertise over to a broader range of non-orchestral instruments.
After playing with the relatively limited sampled instruments in logic 8, I personally would like to see a range of ethnic plucked'n'struck instruments except taking advantage of the generous multiple velocity layers and articulations VSL would provide. I assume that there are more choirs are on the way too.
What else would we like to see?
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What new instruments would you like to see sampled by VSL?
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Personally, I would like to see (and hear) "specialty articulations". Horn rips, picc rips, more string f/x (i.e. ensemble tremelo, no trem glisses, wide vibrato ensemble) etc, etc, etc. I just got a reply from a post that I have asking where I got the "horn rips" in my piece (they were from an old Siedleczek library). These and other artics seem to be missing for those of us that are do non-traditional type of scoring. I know that I'm not the only one in desparate need of these!
I know that ProjectSAM is coming out with "Symphobia" in July with an estimated price around $2500.00 (or so) USD. I've listened to the demos and they are quite impressive. The only thing that I'm NOT so sure about is that some of the patches are "combinations"...meaning that the rips are combined (horns, piccs strings etc) we'll see if they have individual patches.
Just my suggetion VSL!
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1. Musical Saw
2. Theremin
3. Ondes Martenot
4. Spike Jones Percussion & FX (guns, throat FX and car horns included)
A fully sampled (all registers) concert accordeon would be very useful, and of course a bandoneon...
Christian
Edit: forgot to mention the Latrinophone. Seriously.
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I recently saw a stage-show which had a big steel drum band. I had no idea there were so many different sizes of steel drums, nor what they sounded like when played in great numbers. Needless to say they sounded fantastic! A collection of ensembles/velocities would be extremely useful!
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I would like to see ethnic instruments sampled. I think they should stick with what they know best and continue pushing the envelope for samples however! I would like to see a VSL training course in orchestration and making midi orchestras sound real and useable, All in one great place with some sure fire tips to get some great sounds and then some tips on moving on from there. It is really very difficult to learn, at least for me and I find myself browsing the forums constantly for hours. I would definitely pay for a course teaching the orchestration techniques and theories in a way that practically relates to vienna, and then how to mix it, pan it and make it sound realistic! I really like the idea of more articulations and special ornamentation and effects. Another really cool instrument would be too see a VSL mandolin or banjo! Bob
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- Mandolin
- Surbahar
- Ondes Martenot
- Acoustic Bass (guitar style)
- Baroque Flutes
- Accordeon
I don't think (an acceptably expressive) harmonica is viable as it relies too much on the mouth shapes, breathing and tonguing on the front end and hand cupping (is there a better term for this?) on the back end! There are just so many dynamiclly shifting variables all happening at once. This is more true for the blues harp than chromatic harp admitedly but still applicable to both. I play a little of both and I can't imagine how a sampled version could come close - although I'd be happy to be proved wrong.
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@orchestralalala said:
...I don't think (an acceptably expressive) harmonica is viable as it relies too much on the mouth shapes, breathing and tonguing on the front end and hand cupping (is there a better term for this?) on the back end! There are just so many dynamiclly shifting variables all happening at once. This is more true for the blues harp than chromatic harp admitedly but still applicable to both. I play a little of both and I can't imagine how a sampled version could come close - although I'd be happy to be proved wrong.
Frankly I thought the same to be true of the Violin, and indeed, to a very large degree it is. However VI does show that with a very large number of samples, plus ingenious application of the samples by its users, that a very useable mock-up is possible. However a large number of samples must be very expensive to collect, and there probably aren't enough of us interested in some of these more eclectic instruments to justify the cost of a pretty comprehensive sampling process.
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@orchestralalala said:
...I don't think (an acceptably expressive) harmonica is viable as it relies too much on the mouth shapes, breathing and tonguing on the front end and hand cupping (is there a better term for this?) on the back end! There are just so many dynamiclly shifting variables all happening at once. This is more true for the blues harp than chromatic harp admitedly but still applicable to both. I play a little of both and I can't imagine how a sampled version could come close - although I'd be happy to be proved wrong.
Frankly I thought the same to be true of the Violin, and indeed, to a very large degree it is. However VI does show that with a very large number of samples, plus ingenious application of the samples by its users, that a very useable mock-up is possible. However a large number of samples must be very expensive to collect, and there probably aren't enough of us interested in some of these more eclectic instruments to justify the cost of a pretty comprehensive sampling process.
But with a VSL violin you are still, in the main, playing just one articulation - in isolation - after the other. Harmonica playing (again, more so the blues style) is so much about morphing a sustaining note in so many different ways (I've just counted at least 5) simultaneously, as well as bringing in other notes or dropping them at the same time. I just think it would require not just a large number of samples but sophisticated sample morphing technology.
Also the fact it is a typically solo instrument makes it all the more hard to simulate realistically, and especially given the that the relationship between player and microphone also plays a big part in the sound.
Having said that maybe some kind of 'word builder' similar to EW Symphonic Choirs technology could be used - which of course limits its playability in real time - somehow the whole idea of 'programming' a blues harmonica seems an utterly ridiculous concept for an instrument as humble and indeed as noble as the harp!
I guess my thoughts are:
chromatic harp - maybe possible. I've actually thought of sampling mine but only as far as 'straight notes' at a couple of velocity layers (stac and sus) mostly for fun, convienience and impossible to play for real chords.
blues harp - no way![;)]
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I've never played a harmonica (except once as a kid). I don't know how difficult they are to play like the pros (with bends and train noises etc), but for the cost of a full-extended Vienna library set, you might as well buy an actual harmonica! I suspect rather than potentially CPU intensive morphing software, a shrewd array of Xfades could see to the resonance wahs? Sorry Vienna Symphonic Instruments, you know I love you!
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Has VI ever sampled the Recorder for more Baroque styled music? Or the Lute for that matter? Does anybody use a Reed Organ anymore? I might like to see that.
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P Paul moved this topic from Orchestration & Composition on