Mozart - Magic Flute (VSL Dimension Strings 1)

[mw design]

Hi Guys, This is a Piece for Testing of Dimension Strings 1. To Me this Library was a Quantum Leap. I hope to Upgrade soon to Full Library. Now I use Standard Version. MIRx Gateshead TheSaga Hall Reverb seems to be ideal for the Amount of Instruments (not too big, not too small Solution)

VSL Dimension Strings 1 Piece - Mozart

cheers

[Jos Wylin]

Hi Markus,

I guess this is a work in progress? The Dimensions are really great for that kind of relatively small orchestras. Their shapebility is unique and exactly there lays some work ahead for you. The frolicking nature of this music isn't quite there, is it? And of course the rhythmic and dynamic variation can improve a lot. But you have made a good first step. Please go on!

Jos

[mw design]

Thank You Jos, I like the Dimension Strings very Much and what great Sound they produce. But Yes thats true, because I only have Standard Version Im limited here in Terms of Dynamics. So next Time I open this Piece is when the Upgrade is installed. Also theres Singing Part in this Piece, maybe I will sing too :D

Cheers

[fahl5]

@mw design said:

But Yes thats true, because I only have Standard Version Im limited here in Terms of Dynamics.

Oh no no no, it is not so much about "paying for the Pro-version" (I am an awful advertiser😛)

Especially for Dynamics you also can do very much with:

• Expression (CC11)
• Keyvelocity,
• Velocity X-Fade (CC28=on/off + CC2=amount)
• try to shape more "articulate" dynamic developments even in the detail of each phrase

to emphazise the "frolicking" character you should perhaps

a) accentuate the metric or motivic more important notres

b) experiment with the Tempocurve:

• higher general Tempo
• especially in dramatic music you need more and perhaps a bit more courageous "speaking" tempochanges, following and emphazising the certain musical thoughts of each passage of a classical score.

Hold on working on your score up to the moment you can't hold back to sing and dance to what you can hear😉

[Paul McGraw]

@fahl5 said:

it is not so much about "paying for the Pro-version" (I am an awful advertiser😛)

Especially for Dynamics you also can do very much with:

• Expression (CC11)
• Keyvelocity,
• Velocity X-Fade (CC28=on/off + CC2=amount)
• try to shape more "articulate" dynamic developments even in the detail of each phrase

to emphazise the "frolicking" character you should perhaps

a) accentuate the metric or motivic more important notres

b) experiment with the Tempocurve:

• higher general Tempo
• especially in dramatic music you need more and perhaps a bit more courageous "speaking" tempochanges, following and emphazising the certain musical thoughts of each passage of a classical score.

Hold on working on your score up to the moment you can't hold back to dance to what you can hear😉

This is excellent advice for adding more musicality to our midi performance. I know it is difficult.  After working note by note to get everything into the computer, then pick the best articulations, it is often difficult to then get past the details and "feel" the music. This is exactly the same when performing on any instrument. 

A violinist works to get the tuning perfect, the bowing, the vibrato, the dynamics, and only then, can work begin on the musicality of phrasing and meaning in the music.  Some are never able to take that next step. We have exactly the same issues when creating a midi performance. 

One thing that helps me, is to take frequent breaks from working on that particular piece. And sometimes longer breaks are needed to give our ears a chance to reset. Put it aside for a week or two, then come back to it with fresh ears.

[mw design]

Dimension Strings 1 sounds great but in Standard you have the Amount of Articulations like in Special Edition 1 (without +) So its more beneficial to see the Things like they are. With different Detache and Staccato Variations ofcourse it sounds better. The Idea of making the Most out of Less is a good Idea, but not in Terms of Articulations, because they define how realistic it can get.

[mw design]

Thats good Point Paul, I can wortk best when having lot of Pieces going on. And I simply change from One to Another.

[fahl5]

@mw design said:

The Idea of making the Most out of Less is a good Idea, but not in Terms of Articulations, because they define how realistic it can get.

I dont think so. I didn't meant primarily to save your bucks. On one hand we have cuirrently a bit the same "problem" with the new Synchron Strings. Yes there are currently more or less the basic articulations available and the "holy Cube" does of course provide plenty more kinds of this is frequently complained by those who forgot that Synchron Strings I is just a Volume I). But as you might perhaps see in some examples linked in the bottiomline you still can do very much even with a more or less basic set of patches since  what realism "defines" is imho ones detailed understanding, conception and in consequence programming of the musical parameters the kind of articulation used is just one among them. Regarding to your current project I am convinced there is still a lot you can improve without using much more different patches. Just try to work a bit ,more on the aspects I mentioned before. Just a guess....

[mw design]

I cant say after upgrading to Full, that I have Interest in Mockups of existing Pieces, the Reason for that is simple, they allready existing. The true Composition Skills are revealed as the Composer start there own Pieces, thats where my Focus is.

[fahl5]

"True" is of course, what you really want. The best way is always to exactly try that.

However, to master expression, dynamics, musical reasonable tempochanges, reasonable, accerntuation and phrasing is neither dependent from any extended articulationlist, nor that much from the fact who has written a composition you are trying to realise. You have to consider and master each single aspect I mentioned in your own compositions aswell no matter with which Instrument/(Patchlist) you indend to realise it.

Nevertheless it is not that much different to learning and comunicating in a certain language shaping your own Ideas is never independent from the ability to understand and reproduce what others contribute.

in short: Since what you want reacts and results always on what you have expierenced, (musical) truth is always at the same time a matter of communication and music a wonderfuil language to comunicate it😉.

[mw design]

I finish this after Upgrading, I dont repeat this again, Thank You

[mw design]

and maybe then I also will do the singing Part, because theres a Singing Part in the Piece. ;)

[Paul McGraw]

I have played several instruments during my life, but now at age 65 the computer is my only instrument. So I enjoy doing midi-performances of classical music as my way of making music. Sure I also hope to improve my skills and get better so I can improve my performance of my own compositions, but mostly it is the joy of making music.

[mw design]

VSL is great for Mockups  and for the idea that every Style can be produced, like a real Orchestra can. This was the major Reason why I only invested in VSL after 2013. The Problem with matching existing Scores is that there are different Interpretations of a Score. Best Example is Humperdinck - Hänsel und Gretel Overture. If You hear the London Symphony Orchestra Version and another Interpretations on Youtube, you can hear the Dynamics are completly different. So which is now the real Interpretation, How you can be sure that you match the Composition like the Composer intented it to be ?

If I start on blank Paper or empty Pianoroll those Questions never can occur. Thats why making own Compositions makes more Fun. But thats my Point of View.