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1.HOT NEWS: SYNCHRON-ized Special Editions 6/4/2019 5:38:45 PM

Hey Paul! Exciting product news and great "June offer" price! Well done! :-)

I am already using the old Special Edition Vol.1 and Vol.2. The upgrades from old SE Volumes to the new Synchronized are pretty clear. But what happens if I don't have full PLUS libraries, but only "Strings Vol. 1 PLUS"? Is there a way how to upgrade my "Strings Vol. 1 PLUS" to let's say a "Strings Vol. 1 PLUS synchronized" version? Or is this included if I simply upgrade to the full "Synchr. Vol. 1 PLUS" ?

Thanks for your infos!

Best wishes!

2.Contrapunctus 2/15/2009 10:14:49 PM

Great that you answered to my lines and that you didn't take it bad.

I see, your aim was more a "free style". Although there's nothing that speaks against being a Fugue (at least the beginning). You can call it otherwise fugato or something, that's all correct. Or Ricercare would fit, because it has archaic elements, for example the long note values (it reminds me optically a little on Bach's 5-part Fuga in B-flat-minor from the "Welltempered Piano 1", I think it's Nr.22).

I actually prefer when I'm writting style-copies, to stay in one concrete style and to try being as close as possible on a certain composer's technique/style. If you stay free, then it can become a mix of many "musical or harmonic languages" and not so easy to comment or judge (for a teacher, etc.) because some things have different "rules", different meanings, in the history of music theory (in different epoches). So it's also not really easy for me to comment, maybe you better give it to your teacher, who gave you the exercise. Just some little things I saw quickly in the score (nothing big, just some little things):

in bar 18 you have parallel octaves in the outter voices (c# - d#) on the stressed beats (1 and 3).

then there's a triton in bar 13-14: f# - h#

The triton that I meant in bar 6 is still there in the melody. But I don't know how important that actually is. It's usually very depending on the style. For example in renaissance music (Josquin, Palestrina) it would be wrong because you have the triton very accented because it's on both stressed beats, 3 and beat 1. In renaissance period, it's not only "forbitten" to use it within a harmony, but it has also special attention on the melodic side too. (for example if you're in d-dorian than you have to take care with "f" and "b" within the melody that those 2 tones are hidden as best as possible, that's the art of it and of all the great masters like Josquin or Palestrina, and many more)

In bar 13 when you bring in the "Dux" again you could try to use an "e" instead of the grace note "f#". Because usually it's not so good to have a 4th in the two lower voices (or for example the 2nd invertion chord). Maybe you can try in eight-notes f# - e

In bar 17 I hear the missing dominant, you could easily put g# on beat 4, instead of holding d# for a half-note. Just try how it sounds.

This are just some little ideas. Nothing special.

I didn't have time yet to watch it closer. But I think it would be not so easy as it was meant to be in free style. I think in that case you made it well.

About instrumentation: You could try to watch the score of Bach's "Musikalische Opfer", there's the wonderful Ricercare a 6 on the famous thema "Regium". Interesting in terms of instrumentation/orchestration could be also Anton Webern's instrumentation of this Ricercar. That's done so fantastic!! Of course not in baroque style, but in punctual 20th century style.

If you have any questions or you'd like to send me some stuff, my mailadress is andie[at]andieheyer[dot]com feel free to write.

Good luck and best wishes!

3.Contrapunctus 2/15/2009 2:03:02 PM

..oh yeah, and I would be really curious about the comment of your teacher of cointerpoint class.

What did he/she think?

Best wishes!

4.Contrapunctus 2/15/2009 1:45:27 PM

Dear Vincent,

Had a chance to listen shortly to your sound file.

First I really want to tell you that it's a very good thing that you're working on historical styles, because that's such an important "tool" and "handcraft" for any serious and professional contemporary composer, in my opinion.

Maybe you can post an extract of the written score, so it would be easier to comment, if you really want seriously to improve that technique and to be commented on details, etc.

I think that's what you're looking for, so I gladly comment honestly because my ears for counterpunctual writting are quite sensitive and maybe I can help you a little, of course only if you really wish.

It's a nice fuga subject that you've created, Vincent. You're in c#-minor as far as I heard by listening to it only once but ended in B-major, that's quite unusual, although I know it's probarbly not the real ending of the piece (I will talk about it later on...)

As soon as the second voice ("Comes") enters there're some issues about the dissonances. You're theme starts with the famous fifth (C# - G#) and you answer it with g# and c# that is correct because it should be better answered "tonal" instead of "real" (or "absolute", sorry, I don't know the correct english terms) but then you have B (in the upper voice) and down "A#", try intead of B "B#" (it's the major third of G#-major, the dominant of your tonic c#-minor) then the "passing note" or "changing note" that you have and it's dissonance will be correct.

At the same passage, if I heard correctly, you have in the first voice (that has become now the "counterpoint" as soon as the second voice entered with the Comes) melodically an audible "triton" (I think the voice goes down from "E" to "A#"), such a thing Bach would have tried to avoid or "hidden" as much as possible (that's a kind of art in counterpoint).

If you could post the score I could mark you the passages that I mean and give you possible solutions, in order to come closer to the Bach-style that you're apparently trying to archive in this piece.

At the end of the sequence you have a dominant7/13 chord. That way as you wrote it would not be written in "baroque style" it comes much, much later in the romantic periode.

I know that Bach has many kind of "crazy" chords already in his wonderful music, but those kind of chords appear in a different way, for example by the use of "passing-dissonances", or especially as a "grace" ("Vorhalt", german) example in all his wonderful Chorals you can find that stuff, but they always dissolve in something else, because they are just "grace notes".

Then you end the sequence on "B" that is quite unusual and very far (well actually, just theoretical it can bee seen as the Dominant of the tonic-parallel), I'm asking myself how you're planing to continue because on this cadence usually you would bring again the theme.

Usually in the style of Bach it would be possible if you bring now for example the Themes again in it's:

.) dominant key (in your case "G# major)

.) parallel major key (E-major)

.etc.

Just some little things I heard by listening to it just once. I hope I didn't scare you too much, but I thought as you wrote you'd like to improve and want comments, I just write what I hear.

If you're really seriously interested in this wonderful "chapter" im music (fugas, counterpoint, etc.) maybe you're working on that at the moment, than I'm really glad if I can give you some advices, just feel free to write me a mail or something, you can also send or scan me your scores and I can comment them if you want. It's always easier to comment music that I can read.

Hope it might have been a little help

Keep on writting and best wishes!

5.Beethoven String Quartet - VI Special Edition 2/9/2009 7:59:26 PM

I just had a try on Beethoven's String Quartet Nr. 4 op.18 (just a couple of bars) exclusively with Solo Strings from the VI Special Edition.

Have fun!

http://www.andieheyer.com/sounds/beethoven-quartet.mp3

6.Schubert Symphony 5 2nd movement Strings 2/8/2009 11:22:48 AM

Sorry... the correct patch ist: http://www.andieheyer.com/sounds/schubert-mix.jpg (just a small "s" instead of capital letter) ;-)

Have fun

7.Schubert Symphony 5 2nd movement Strings 12/13/2008 5:18:51 PM

Hi guys,

Thanks for your nice lines!

I glady post the MIDI file, Cubase Project und a picture with the EQ, mixer, etc. settings.

http://www.andieheyer.com/sounds/Schubert.cpr (the Cubase file)

http://www.andieheyer.com/sounds/schubert.mid (the Midi file)

http://www.andieheyer.com/sounds/Schubert-mix.jpg (the pic)

I used exclusively "Legato" patches from VI SE (Orchestral Strings) and only modified the velocity value that is in my opinion to few - I put it up to arround "30" (in the cell editor) in order to make more beautiful crescendi, etc or kind of "dal niente" fades (although it's not very perfect in this example, but just a thing a I can recommend in general, especialls to strings and winds).

Have fun and good luck! :)

Best wishes,

Andie

8.Schubert Symphony 5 2nd movement Strings 12/3/2008 6:26:45 PM

We will do a "Salzburg Symphonic Library" then!! ;-D  SSL sounds cool too!! :D

9.Schubert Symphony 5 2nd movement Strings 12/3/2008 11:58:15 AM

"Viennese sound" and viennese composers fit always well! ;-)

I really love Schubert's music and the whole viennese periode generally (of course Mozart is my biggest hero, coz I'm from Salzburg too) :-)

Vienna is cool. Although I'm from Salzburg and those two cities are not always best friends. ;-) I just love the place (though Salzburg is more beautiful!!!!!) ;-)

So, I wrote enought crap! :D

Have a nice day!

A

10.Schubert Symphony 5 2nd movement Strings 12/2/2008 8:56:53 PM
http://www.andieheyer.com/sounds/Schubert.mp3

I just had a try on Schubert's 5th Symphony, 2nd Movement, the first couple of bars. I used only Legato patches of the Orchestral Strings from Vienna Special Edition.

I just practiced a little. I make always kind of short parts from orchestra pieces and try to simulate it as realistic as possible, to get a feeling for the samples and how to control them better and better. And it's a good exercise for "sight reading" too. :-) Though in this case it's only string orchestra. Just a beautiful piece I thought I share it...



Best wishes,



Andie
11.VSL Orchestration Workshop Munich - driving possibilities from Salzburg 11/17/2008 11:32:30 AM

Next sunday (23.11.2008) there will be a workshop with Christian Kardeis on VSL and orchestration in Munich/Germany (at Just Music) 11AM to 4PM.

I'll drive there and I'd like to ask if there's anybody who'd like to come too. I'm driving from Salzburg to Munich - places still available for driving possibilities.

Just sent me a mail:

Best wishes

Andie

12.Good news for users of Finale and VSL 7/15/2008 9:17:33 PM

Definately good news! I was waiting for something like that and it seems it payed off that I did not upgrade to Finale 2008 and I skipped it.

Let's hope it works well!

Andie

13."User Profile" problems 5/13/2008 12:55:02 PM

Hi there,

I have a problem in my user PROFILE. I can't type my name and surname. The fields are grey and seem to be deactivated.

I have done the account years ago before I purchased or registered VSL products, but now I already purchased and registered VSL products a couple of weeks ago but it's still the same. If I don't type the name I can't apply profile changes, that means also that I can't order the VSL newsletter.

How can I solve this?

Best wishes,

Andie 

14.Problem with Firefox 5/13/2008 12:46:52 PM

I have since a couple of weeks problems with Firefox (2.0.0.14 latest version available) and visiting VSL's website.

The problem is: If I click for example on "PRODUCTS" (or also other sections) it appears the world map to choose the continent. I click (on Europe) or I simply choose it in the scroll box but then it always jumps back to the very first start page of VSL (with language selection).

But if I'm logged in, this problem doesn't appear at all and everything works fine (I choose the area and then I arrive to the achieved section of the website).

Is that a problem with Firefox? Because I tried with IE7 and it works fine.

I also checked if it is a problem with cookies, but everything is set normal.

Just wanted to make you aware, maybe other people already had the same experience?

Thanks

Andie 

15.Special Edition question 5/1/2008 10:28:23 AM

Sorry, my mistake! without " - "

http://www.andieheyer.com/sounds/stringtrio.mp3

all the best,

A 

16.Special Edition question 4/30/2008 6:54:39 PM

You can hear a short piece for solo strings (trio: violin, viola, violoncello). I have done it a couple of days ago, just after my SE arrived and after installing it. Didn't edit anything, they are played "live" just right into my sequencer. http://www.andieheyer.com/sounds/string-trio.mp3

About the Fanfare for the Common Man: I have opened the "tutorial" in Cubase and discovered that there are few patches from the extended in use. For example the "Horns a 8" (Epic Horns). But I have listend to them with the standard patches and it sounds good anyways.

17.Special Edition Audio Demos exposing more of the strings ? 4/28/2008 2:28:55 PM

I use Cubase 4 on PC (XP). I also work on Macs now and then and Cubase seems to run just fine. I don't think there's any difference if you run Cubase on Win or OSX. Especially in filmscoring it is beloved to use Cubase on Macs. (Hans Zimmer and co... are the best example).

I also know lot of people who run Logic on Mac. It's probably the most popular combination. In my opinion it is just a question of taste! It depends on which software you have "grown up" with. In my case it's Cubase, I started with it since I'm a little boy, almost :-) and so I'm definately used to it's user interface and functions.

I think both softwares are just great and professional, depends just on your personal taste (optical appearance and also functionality, etc.) considering that we have to spend a lot of time working with those softwares!

If you're satisfied with Logic, keep going with it. If you're ready to try also Cubase, give it a shot! I think it's also good to be familiar with all kind of available software standards. Just imagine you have the chance to work somewhere in a studio on a great project and they use another software. It's hard to learn that in few time.Cubase is really the choice of many composers (especially in film music).

I'm sure VI-SE runs just as fine as it does on Win.

About IR reverbs: As far as I know there's a nice IR included in Logic Pro. "Space Designer" ??? I think that's quite a good thing.

Orchestral Strings in SE: Sorry, just had no time to do a demo yet as I'm currantly working on my Bachelor exam (I graduate next month) so I'm a little busy with other stuff right now, you know...

But I'll post a short demostration especially with "short notes", something rhythmical. But I can tell you that they really sound fantastic.  But "describing music is always like a described lunch" :-)

I can really recommend you to get the Special Edition! I started with the Standard edition and can always decide one day to expand it with additional "download instruments" or "PLUS libraries" that have in my opinion really fair prices! Just my opinion.

All the best,

Andie

18.Special Edition Audio Demos exposing more of the strings ? 4/27/2008 12:30:31 PM

First of all, thanks for your very kind comments!

I think I must disappoint you guys: The reverb is simply the built in "RoomWorks" from Cubase 4.

About articulations: The bigger libraries (Solo Strings, etc.) do have a bigger sortiment of articulations and much more varieties of different lenghts of detachés, etc.

I used the following articulations in SE (Std) for the demo: staccato, detache, sforzato, pizzicato and tremolo (on Violin Solo, Viola Solo, Violoncello Solo). (still some more articulations left) As I have played the instruments "live" into my sequencer the switches of articulations are not really perfect at all, but if you take your time and edit it with patience you might get much more realistic results (one note staccato, the next one detache, a sforzato, etc.) those little details pay really off (you can see a great tutorial by Beat Kaufmann). Of course the bigger           collections offer you much more varieties to "construct" really every little nuances that you wish.

About the Section Strings: The "Orchestral Strings" in SE are really beautiful as well. Same articulations as the solo strings above.

As I have only the Standard Edition I do not have access to the "Chamber Strings" and "Appassionata Strings", but that doesn't matter to me but I'm thinking of downloading "Strings PLUS (Std)" that gives me additional articulations (also for contemporary composition) as "con legno" techniques, "sul ponticello", "harmonics", "perf. repetitions", and many more... I think that's a good expansion for the beginning.

If you'd like to hear the orchestral strings you can check my second soundclip I just did it yesterday night. Nothing special though, I tried the first time to load and set up a basical VI orchestra in Cubase and as a test I orchestrated quickly a simple piano piece in Satie style that I wrote once on university.

I did the same way as with the solo strings: I played every single instrument "live" into my sequencer and didn't edit anything (or only little) afterwards. It's not perfect at all but might show how easy and comfortable it is to play "live" with the Vienna Instruments and what kind of results you get from the very first note on.

 http://www.andieheyer.com/sounds/hommage-a-satie.mp3

All the best,

Andie 

19.Special Edition arrived! First try... 4/27/2008 9:40:29 AM

Thanks for the nice comment.

You will really enjoy SE, believe me. For me it was always important to play the instruments live into the sequencer but with other libraries that sounds sometimes so unrealistic and needs afterwards a lot of editing and time that kills the motivation and workflow in my opinion. With VSL it makes simply fun to compose and experiment.

About the second piece: The voicing of the melody is a mixture of 6th chords (faux bourdon), typical technique for that time (Debussy, Ravel, etc.).

But I "orchestrated" only in Cubase, so only by using the samples. This approach gives me a little bit the feeling of "having not everything under control", as if I'm orchestrating/composing usually on score paper (or notation software) where I can see also with my eyes if it is done good or not so much. The ears sometimes "lie", the eyes always tell the truth! :-)

But never the less the auditive result is of course the most important.

All the best,

A 

20.Special Edition arrived! First try... 4/26/2008 5:45:07 PM

Now I had some time to set up a full orchestra in Cubase und I orchestrated an old, simple piano piece that I wrote at university (in style of Satie).

I played every single instrument "live" so it might sound not perfect edited but I just wanted to test the entire orchestra of SE for the first time.

http://www.andieheyer.com/sounds/hommage-a-satie.mp3 

Makes really fun to work with SE as it's so comfortable and handy to use !!! Damn it - VSL you have made a master piece once again !!! You guys are genius! :-)

I'm glad to get receive some feedback and curious to read your posts...

sincerly,

Andie 

21.Special Edition Audio Demos exposing more of the strings ? 4/26/2008 10:38:30 AM

I just got my SE yesterday. I had not much time yet but I've done (without any editing, etc.) an "live" improvisation into Cubase with string trio (solistic, Vl, Va, Vcl) to try the handling of VI and different articulations.

You can see how easy it actually is to play the instruments "live" and it sounds quite okay even without any detailed Midi editing done yet. And as I said, it just arrived I installed and made this little test Smile

http://www.andieheyer.com/sounds/stringtrio.mp3 

I can really recommend you to purchase SE ! I really love it! So far I have purchased only the Standard Edition of SE and I'm thinking to expand it one day with Strings PLUS (Std) download or I wait what comes up with "single instrument downloads" maybe there'll be some interesting stuff.

All the best,

Andie

22.Special Edition arrived! First try... 4/26/2008 10:14:36 AM

Special Edition arrived yesterday and I have done a first try with string trio (Vln, Vla, Vcl.).

I just improvised "live" around in Cubase (no edits done) with those 3 solo instruments and checked out the articultions and the handling of VI (turned out a kind of mix between Schostakowitsch, Webern or Bartok).

I really love it! The Special Edition is really fantastic! I don't have a real favourite instrument yet 'cause they are all so beautiful and natural.

Had no time yet to set up a full orchestra.

Have fun with my short MP3,

Andie

http://www.andieheyer.com/sounds/stringtrio.mp3

23.Filmscore: Are notes without description played vibrato or no vib? 4/17/2008 1:35:19 PM

Vibrato is a very natural way for string players to play expressive, if written or not. In case you really want it to sound cold you have to initialize something like "non vibrato" (although they will never really play without any vibrato) Big Smile even Morton Feldman (who's music should not represent any kind of emotions or expressions ) had problems with string players to play a completely emotionless single note (probarbly because it's against their aesthetics or technical skills).

In case you desire a lot of vibrato you can write in the score "molto espressivo" or "molto vibrato", or in modern 20th century scores (Penderecki, etc. made a lot of use of it) you can find special signs for it, like kind of "waves" ~ that visually explaine how a vibrato should develop (from "non vibr." to "molto vibr." and back to "non vibr."), similar to cresendo and decrescendo.

Best wishes,

Andie 

24.Question about new upgrade discounts on "Special Edition" ? 4/17/2008 1:12:45 PM

I have read now your new upgrade discounts and have a question (I'm note quite sure if I understood correctly):

I'm going to purchase SPECIAL EDITION DVD (Standard) next week and I'm thinking of expanding it with the download version of STRINGS PLUS (Standard). Are there any discounts too in this case?

Grüße nach Wien!

Andie 

25.compatibility of DAW for VSL SE 4/15/2008 2:37:58 PM

Cubase 4 is really a good joice. If you're still student (on music collage, university, etc.) you have even the benefit of "education prices" from Steinberg (at least here in Austria/Germany) it is possible. And you pay only about half of the full price!

But if you just want to start there's also a light version of Cubase 4 called "Cubase 4 Studio" if I remember correctly. Depends on your needs and budget.

About soundcards/interfaces: I can recommend you RME hardware too. It's a german company, www.rme-audio.de with a big sortiment of all kind of hadware interfaces with high quality! Especially if you're planing to go on road. They have many mobile solutions, e.g.: Multiface, Fireface 800, or Fireface 400, etc...

Temporary my setup is: AMD X2 Dualcore 4400+, 4GB Ram, Cubase 4 and RME Multiface. The Multiface has Midi In/Out, 8 analog In/Outputs, digital (optical, coaxial, ADAT) wordclock, etc.

The only disadvantage ist that you need to buy a seperate PCI Card that doesn't come along with the Multiface unfortunately.

As you're using Windows there's no possibility to use Logic or DP, but Protools. But instead of buying the cheap Protools with M-Audio it's much better to go with Cubase (or Nuendo) and RME hardware! Unless you have really a huge budget, then I would recommend you definately to buy a professional Protools System. Or instead a Porsche or a villa in Malibu :-) (just kidding)

Good luck,

Andie

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