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My first experiment with the recent purchased Solo Strings Bundle.
MIDI downloaded from Internet. Altered by Overture notation.
Played and output from Overture. Reverb the built-in reverb of VI-pro.
https://app.box.com/s/ezldzyg3sfkg0a7anxng
Greetings,
Raymond
Thank you, Grey.
I went on experimenting, but still I am not quite satisfied about the result. It is supposed to be Sautillé - playing as I can derive from the Youtube video of Alexander Markov. Maybe after a good night sleep.... It is a remarkable good set of strings!!! Thanks to the VSL-guys.
Greetings,
Raymond
Who can beat kaufmann? Nobody. But he has no tutorial on this..... went thru his website.
Raymond
Who can beat kaufmann? Nobody. But he has no tutorial on this..... went thru his website.
Hi Raymond
There is of course no tutorial about Paganini.
Nevertheless, maybe I could give you some help for an even better Paganini. At any rate I'm using VSL-Samples since 2002 and I'm playing the violin my self.
But it depends on you. I don't want to force my company on you and your playing experiments.
Beat
Erik and Beat,
I'll come back on this subject later this week..... other things are calling (my wife wants me to paint the kitchen [:'(]
This morning I had another look at this piece. Indeed, some things have to change.
Write to you later,
Raymond
...I am not quite satisfied about the result. It is supposed to be Sautillé - playing as I can derive from the Youtube video of Alexander Markov...
Hello Raymond
The VSL-Violin has the articulations which it comes with and not more so don't be sad when we don't get Sautillé.
Playing music with samples is "making compromises from the beginning till the end".
Important isn't the name of all the articulations but how they sound. Further: All the articulations sound different with their different levels.
Try out "détachée long" of the solo violin. Level 4 (109-127) sounds different compared to level 3 (90-108)...
So we have a lot of possibilities even if the offer is limited. Important is that you know the sound of the articulations of your libraries.
This means that you perhaps don't choose "sfz" (...because of the score) but you take the "harsh"-articulation because it does the better job in this certain case.
So our job is to combine all the available sounds to a "close-to-the-reality-result" by choosing the best possible sound in every moment - removed from their names and indications.
BTW: I just played the first barrs of Paganini's Capriccio No1 as well.
So the "reference" is ready... I'm on "standby" till you will be back, Raymond [;)]
Beat
Hello Raymond
It seems that you've no more time to improve your paganini.
Nevertheless, I'm going to share my approach with you and others here.
I've played the first bars of the Paganini for showing that a lot of different treatments can lead to completely other results.
I've prepared two versions:
More or less one articulation, more or less a treatment how we are used to from midi-music.
Finally mixed by MIRx with the preset "Solo Violin Center"
A lot of variations with the tempo, the articulations, the dynamics, the velocities... I tried to be an interpreter of the Paganini...
Finally mixed with common effects (EQ, a bit Compressor and Reverb for getting a close soloist).
Comment
OK, I've overdone both examples a bit for pointing out the difference. But these example show clearly 1.) how different the same library can sound, and 2.) how musically we can play VSL-samples by varying all the parameters which a real musician usually does without thinking - even if it means "a lot of work" of course.
For more info and images of the tempo/ piano-roll-editor vist also
http://www.beat-kaufmann.com/vitutorials/vi-tips--tricks-4/index.php (No34.)
Have fun
Beat
PS. I believe that nobody miss "Sautillé" any more after listening to Version B) - even if it would bi nice to be owner of Sautillé as well.
Good day folks,
sorry for the late reply or follow-up. While doing the painting I encountered some problems with the walls, needing immediate repair. It all took longer than anticipated. Between all white spots I found time to revisit the piece. Together with a Belgium friend and with the examples on Youtube (Alexander Markov) I managed getting a decent recording. I also got more understanding using the patches, combination of patches, the crossfade function and more.
Mr. Kaufmann, many thanks for your versions and your offer helping me. For me it works better - it sticks better in my mind - when I discover things myself. The Belgian friend is very patient!!! He teaches me listening with "other ears'' to things, very useful. So, making a longer story a bit shorter - and what is better than showing - the newly rendered Capriccio no 1 and for the sake of experiment also Capriccio no. 2, which has rather different articulations.
With regards,
Raymond
Congratulation: Your Paganini sounds much better than the first version.Beside a lot of things you probably also learned that "making music" with samples can take a lot of time. [;)]
Unfortunately a lot of musicians take this Paganini to show how fast they can play. That's the reason why also musicians often play the Capriccio just as a computer.
...For me it works better - it sticks better in my mind - when I discover things myself.
No problem Raymond, you can discover things as fast as you want. I also don't say that one should music play this or that way.
I only wanted to show, that one should vary musical aspects as often as possible in connection with samples and this for fighting against the sterility of samples.
Further: My way is more to give an example as a possible solution than only theoretical advices.
Collecting those examples can be helpfull then for other sample users as well.
So the collection has grown up with your example (34) even more.
Go on your way my dear
I wish you a lot of success
All the best
Beat
@greystorm said:
ha, ha... better than menuhin... i like Version B! Sounds natural for me..
Hallo, grauer Sturm
Thanks for your Menuhin-feedback [H]
All the best to Zofige
Beat
Hello Beat,
you are right about the speed. I also listened to a youtube of Izthak Perlman. Faster than Markov and far from beautiful. There are a lot of different recordings and one is better than the other (at least for my ears). I am sure that Paganini wanted this first piece as fast as possible (I phoned him about this [:)] ). Right now I am going to some other pieces. Just finished copying the Sonata for violin and harpsichord BWV 1022 for playing in Overture Notation. Thus slower phrases where legato, slurs and portamento have a major role. Let's see how this goes.
Thank you for your kind words. I should have bought that Solo Bundle much earlier, but as always... the budget. In cooperation with my son, I could buy this for my 70th birthday last february. Next is the Orchestral strings Bundle......
Raymond
Dear Raymond
Thanks for your kind words as well. About the Orchestra Bundle: This is a nice addition to your solo violins!
And the best: You will be able to combine the orchestra library with the solo violins.
During the days before we got the chamberstrings I used the solo strings togehter with the orchestra library for getting a more "chamber-orchestra-sound".
Playing the solo strings and the orchestra strings unison leads to a sort of chamberstrings. It depends on the mixing balance between the Quintett an the Orchestra
One of my first demos for VSL with this technique was Mangiagalli's Bach-E-Partita treatment... (it was in 2003 I believe)
It will be great and you will have a lot of fun with the orchestra library, I'm sure.
All the best
Beat
P Paul moved this topic from Orchestration & Composition on
