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  4. Chasing Dorian Grey (Part II of my Trio for flute, viola and cello)

  • Chasing Dorian Grey (Part II of my Trio for flute, viola and cello)

    J
    J
    last edited
    last edited

    Here's the second part. The title says it all.

    Chasing Dorian Grey

    Enjoy the listen and feel free to comment,

    Jos
  • Fabio BiolcatiF
    Fabio BiolcatiF

    Listened and enjoyed.

    You choose a very dry place for your performers.

    VI Special Edition 1-3, Reaper, MuseScore 3, Notion 3 (collecting dust), vst flotsam and jetsam
  • J
    J
    last edited
    last edited

    Hi Fabio,

    Thanks for listening and commenting.

    Indeed, it's quite dry, but I wanted to create an intimate (corona) feel, placing the trio in a smaller hall, with the (minimal) audience at about 4 meter...😉 That way, every single detail is quite well audible, even the scratching of the bows.

    Take care!

    Jos
  • M
    M

    Hi Jos,

    I enjoyed listening to it. The music and the performance. Very realistic.

    Thanks for sharing the piece.
  • J
    J

    Thanks, MMKA.

    Jos
  • W
    W

    That sounds great,  very fascinating composition and the performance is ultra realistic sounding. 
  • J
    J

    Thanks William.

    This is made with only the hybrid reverb of the old Vienna Suite. Rather simple, since it's just 3 instruments. Thanks to the very detailed VI (full) instruments, I could mimic most fine articulations and playing techniques which result in a high realism.

    Lately, I've been busy with creating my own sets of Sound Variations with the VI Pro instruments. These replace the traditional key switching in Studio One (Pro). Finally the Presonus people came with a huge improvement for classical composers. It's never been simpler to put articulations, effects, playing techniques in the piano roll. Vienna has created wonderful setups for the Synchron(ized) instruments, but unfortunately not for the VI instruments. So I started creating my own and they work just fine! Every articulation has built-in key switches and controllers brought together in an action sequence, even with parameters for the personal taste of playing (release value, Vel XF on/off, attack value... All things to ease the labour of automation after the composition. Everything in just one go...! That is a giant leap forward. VSL provided a set for every Synchron instrument or group, but will not come back on the VI instruments.

    I've been experimenting with some Synchrons too, but I still prefer my old libraries, mainly because of the lack of detail articulations. (E.g. the flute doesn't have cresc/decresc patches anymore, as well as the much used T-staccato. That is really a pity, but maybe they will be added in the future. I hope so, because it seems that Synchron will be that future (said Paul).

    All the best,

    Jos
  • PaulP Paul moved this topic from Orchestration & Composition on