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1.cue management in logic 6/23/2007 11:25:35 AM
a colleague has asked how to manage multiple cues for a feature film in logic. as a dp user, i can only offer limited advice based on my own workflow. in essence, i create a single file for the whole movie, then create separate sequences within that file for each cue. each has its own start time at the beginning of the cue and markers and tempo, etc. pertain only to that cue. the instrument setup is also a part of the master file so the routing and plugs etc. are all available to each sequence without having to set them up more than once. thereafter, it only takes five seconds or so to switch between cues.

is something like this possible in logic? how do you guys do it?
2.Do animals make music? 4/16/2007 3:51:15 PM
ok, this is weird. i worked with a director who just got back from guatamala filming a documentary on the guy that "founded" the elephant orchestra. what struck me as scary was the level to which these animals are communicating with each other.

look/listen and have fun with this one:

http://www.mulatta.org/thaieleorchpage.html
3.Demo day - 5 new demos online 4/16/2007 3:02:58 PM
thanks for the kind words. great pieces everyone!

hi jay - i trained on the instrument but i'm not really an organist anymore. these pieces were worked up for performance many years ago so it was intuitive to just play in the manual parts. i don't keep my pedal controller hooked up anymore so those lines had to be played separately (which made things more difficult if anything).

hi william - indeed the konzerthaus organ is extraordinary and as you say, registration is an important part of the art. the bach was obviously straight forward but duruflé, like many french composers, called for specific stops as a part of the score. in the end, every stop in the library was used and enclosed divisions had to be simulated for the choir and swell dynamics. because every stop was done individually the working file took the same form as a very large orchestral piece; just over a hundred tracks with couplers.
4.Dynamics and Cresc./Dec. with Organ 1/25/2007 6:32:18 PM
fwiw, i think the decision to sample the sounds as pure as possible with the swell box fully open was an excellent decision as the vi would have been too unwieldy otherwise. in compensation though, i think it would be a mistake to underestimate the value of filtering when considering how volume effects are created on the organ. for those unfamiliar, the organ is constructed in divisions of pipework associated with each of its manuals (keyboards). these divisions are either "exposed" as in the pipes we can see in the room, or "enclosed" in chambers (small rooms) that can be gradually closed off by louvers that look like vertical blinds called shutters. the shutters gradually open or close via a volume pedal at the organ console.

because a reduction in volume occurs as a result of obscuring the sound by placing it in literally in another room, it becomes important to simulate that effect with a low pass filter rolling off higher frequencies. at no point on the organ is it possible to have the pure unobscured sound of the enclosed divisions, but with the shutters closed, any more than it is possible to have the brassy effect of a horn sound at pianissimo.

to the extent that it would not have been desirable to sample the organ with multiple layers for the enclosed divisions, i think it becomes even more important to note that the primary association we have with an organ's swell effect is its reduction of high frequencies as the shutters restrict the sound, and only secondly the actual change in volume. further, it seems important to note that considerable sound still escapes from a fully enclosed chamber (volume can't ever be reduced below perhaps fifteen or twenty percent) and composers routinely call for this restricted sound (not just as an effect) in the repertoire.
5.Giga "Newbie" Q's - .art and Vienna Instruments 1/19/2007 4:46:47 PM
mike - it is possible to layer the performance patches. if you need specific instructions, there was a thread or two on it back about the time giga 3 came out. as others have mentioned though, most of these have already been done so you don't have to reinvent the wheel.
6.Altiverb -different rooms for positioning and tail possible? 1/18/2007 3:49:38 PM
best place to go for info on this is the tutorial on orchestral positioning with downloadable templates on the altiverb site.
7.Emergency! Looking for accordion lib 1/17/2007 3:17:45 PM
not sure how french but kip has a lib with several for giga at:

http://www.bardstownaudio.com

hope this helps.
8.Question about mixing electronics and Orchestra in Film Scor 12/21/2006 6:45:41 PM
it probably is a combination of composition skill and, to a lesser extent, programming. the closest thing to a silver bullet in the programming department might be spectrasonics atmosphere. it is widely used but offers the opportunity to combine two sets of sounds much like oscillators on a minimoog for example. it should begin to get you accustomed to hearing what goes into good programming. composition on the other hand takes a lifetime to develop. you can have a lot of fun (and headache) along the way, but if you want to write like zimmer, etc., why not mock up one of his cues? copying is only bad at certain levels and rarely for a beginner whose aim is education, e.g. early beethoven sounds like mozart for a reason. your own voice will come later but it will at least get you started.
9.Konzerthaus Organ - Bach - Toccata and Fugue 12/8/2006 5:42:13 AM
JBacal wrote:
I know next nothing about organ technique. How does a performer decide which stops to use? Did Bach indicate them? Are there conventions? Or is it left totally up to the imagination of the performer?


bach tended to indicate registrations inconsistently, usually when customary performance practice differed from what he had in mind (there are no registration markings in this piece however). the french have historically been more specific, especially moving into the 19th century, but generally performers are conceptually taught how to combine stops and are left free to choose them at their discretion.
10.Setting up a small studio 12/8/2006 4:34:12 AM
7. a good idea to preserve your equipment and minimize downtime.

9. canopus advc-100 or 110. streams out through firewire into rca or s video so just about any tv or monitor will work.

also, room design and especially the dimensions might be given special consideration. there are many sources for this, but a good place to start might be:

http://www.cardas.com/content.php?area=insights&content_id=26&pagestring=Room+Setup
11.Why composers add woodwinds when brass & strings are ff 12/7/2006 4:58:38 PM
in traditional tutti writing, woodwinds served to strengthen the upper partials of the overtone series. the only real value of doubling louder instruments at pitch might have been to glue other winds in higher registers to the overall tutti. it seems important to note that the instances of flat out wall-of-sound writing was relatively infrequent when compared to more sparse or quieter writing where more nuance and color is heard.

contrasting that with film music which tends to be more "aggressive" much sooner and for sustained periods, scott smalley's observations begin to make more sense, especially when considering how fast a composer must write. he once remarked dryly that beethoven would likely not get a job in hollywood. he (a former flautist) also referred to woodwinds as the barnyard animals of the orchestra.

his point about using them to soften a texture did not mean to actually make things quieter, just to make them seem like they're quieter. his thoughts have to do with perception and to that end, he feels that a greater sense of power is conveyed through string and especially brass writing, while woodwinds are there for color and effect only when they can be heard. furthering this point in a world where product needs to be cranked out quickly (and paid for at four measures per page), if something can't be heard, there is little sense wasting time on it. again to that end he openly acknowledges that film music and concert music, while having some similarities, are really two different beasts.
12.Altiverb 5 12/5/2006 8:38:07 PM
the altiverb forum is hands-on moderated by aram who is very responsive and helpful. he will get you going in the right direction:

http://audioease.com/cgi-bin/forum/YaBB.cgi
13.Marble Zone Piece 11/27/2006 12:21:06 AM
as with "jump on it" from the other thread, you might try removing (or at least randomizing) the quantization. a little lift/ritard at the ends of phrases could help too.
14.Short semi-rejected cue... 11/26/2006 6:00:55 PM
being sometimes naive about musical convention, does parallel fifths mean one jug in each hand? if so, i can see their constructive musical application...
15.Altiverb 5 11/26/2006 1:35:36 PM
it might help to think on two planes, traditional reverb (tail) and placement in space (early reflections). so those who are using many instances of altiverb are using most of them with the tail removed (saving cpu) just for spatial placement (this is where moving the speakers is used). after that, running a single instance via send and return works quite well where differing levels can be applied to each instrument or group. the main ir makes quite a bit of difference. i started out using the concertgebouw and ran in to the mud problem too. switched to the sydney opera house and voila, much more open and airy. i love the cathedrals and sometimes use them with the tail shortened. it all depends on what you are after which might suggest new approaches/possibilities given the "other-worldly" nature of your music. most altiverb discussions center around traditional orchestral simulation which your music may be liberated from (meant in a good way), so i could easily hear something like chorus or flange on a send with great results. in that sense, you may be able to get by with a single main ir with others used more as sound design, especially if you already have a mechanism to place individual instruments spatially (if that is even desirable).
16.Some notes don´t have any resonance? 11/25/2006 10:33:33 PM
oh - just saw that you already tried different dynamics so "scratch" that (sorry, couldn't resist the pun).
17.Some notes don´t have any resonance? 11/25/2006 10:31:05 PM
not knowing the musical context and the possibility of different voicing which you've probably eliminated, one technical trick might be to use Bb or C and adjust the pitch into place without an audible bend. simply closing a low pass filter or using a different dynamic sample might also work if the rasp is fleeting and moves quickly.
18.Adjusting bassoons and tuba levels 11/25/2006 9:52:35 PM
no amount of training would answer these questions very well because it is all a matter of context. what can be done is to gain a general understanding of the character and relationship between orchestral instruments. one of the best ways is to do several/many rough mock ups of excerpts from the repertoire and then reference them against actual recordings. there will be some inconsistency but you can get very close to a general volume level. from there, what you will learn going through the repertoire will make the rest clear.
19.Help - bow attacks conumdrum 11/12/2006 8:52:58 PM
not exactly what you're looking for but a workaround might be to use samples with the attack removed, create an envelope with a gradual attack, then attach the attack time to a controller (if continuous, you can vary the attack time to suite the musical application). i don't know how to do that in k2 but i've done it in gigastudio and converted it so it's possible.
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21.Advice on using the brass in Opus 1 11/10/2006 12:21:13 AM
ok on just the piece, i'd take a it little faster, and be clearer in what you're trying to do at the end to bring things to a close. i liked where you are going with the dissonance, and in that context thought the parallel chromatic chords about two thirds the way through sounded like you meant to move to a diminished chord rather than minor (try moving on of the voices up a step, rather than all three down and see if that clarifies anything). since parallel movement breaks a part writing rule, those kind of things need to be handled very carefully to get them to sound right. lastly, the plucky idea gives this a kind of news report feel which i don't mind, but maybe taking it out or replacing it with drums might move this more towards action.
22.Advice on using the brass in Opus 1 11/9/2006 11:47:06 PM
some interesting ideas in the works. not particularly related to this piece, it might be helpful to think of brass registers like satb writing, trumpets = soprano, horns = alto, trombones = tenor, bass trombone/tuba = bass. now this doesn't necessarily mean you should just write satb parts like this because brass instruments are meant to play chords/harmony within their instrumental group as well (hence their usual numbers in the orchestra). the idea is that if you are writing in an alto register for trombones, although possible, it will likely create more problems than it solves. it may also be helpful to think of trombones as the power of an orchestra, much like power chords on a guitar and to keep them down there for when you want that kind of punch. so much of what you are trying to do tonally starts with good writing. i guess the last thing i would offer is to think about the concept of horns being a part of the woodwinds. that's no longer completely true but it is how they started, suggesting somewhat greater tonal coheasion between the other brass instruments. maybe your trepidation about these will go away more quickly if you left the horns out for a few exercises or at least switched to the opus ones until some of these ensemble concepts start to make a little more sense. as alex said, the epic ones are rather an extremely beautiful oddity that could be messing you up a bit at this early stage.
23.Re: discount color contact lenses 11/9/2006 9:03:49 PM
seems after our elections, blue has become fashionable here too...
24.Is the Performance Set Obsolete? 11/9/2006 7:58:33 PM
hi dave - i (again) agree with what you said here. i think it bears clarity though that even as the v.i. are certainly more musical than the pro edition out of the box, direct access at the sample level in the pro edition leaves a potential for musicality that exceeds the musicianship and experience of the programmer that is locked into the vienna instruments.

it seems likely that we both decided to, upgrade in your case, and not in mine, for similar reasons of musicality. this certainly doesn't suggest that those using one version or the other are any more or less musical than a pianist using a steinway or bosendorfer. the bos has a few more notes and the v.i. a few more samples, but i've yet to hear anyone set the bar any higher than andy blaney did with that pro edition debussey.
25.Re: discount color contact lenses 11/9/2006 4:18:05 PM
i wonder if the rose colored ones are still available.
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