That vid certainly gives paws for thought, doesn't it!
(Well someone had to say it....)




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http://www.renard-music....einstrument.php3?1000069"="" target="_blank" title="http://www.renard-music.com/selectficheinstrument.php3?1000069">http://www.renard-music.com/selectficheinstrument.php3?1000069">http://www.renard-music.com/selectficheinstrument.php3?1000069

Perhaps this will help.

Alex.

Finally found time to listen to thse today, and i have to say it was worth the wait.

Jay, well done. It's like a timeline through your performance journey hearing all the work you've done, and the improvement that goes on from an already high standard. I once remarked that you have a good sense of light and shade, but this a step up from then. Wonderful control overall, and a delight to listen to.


Bill my friend, the Prospice is stunning. JW made the comment about the texture of the voice, and related to a comment i posted not so long ago, about vocal texture, this is a just about a perfect match. Brlliant vocal control (Is ths Ferdi?), and a tone that is, well, just right for this piece. The pathos and drama in this would be overdone in the wrong hands, but both you and the vocalist show real class in balancing this performance. I remember you telling me to wait and be patient, when i asked about this work, and now i can hear why. I must also say at this point that the team of yourself, Deitz, and the soloist, is a potent one, and really makes this work at a profound level. I look forward to hearing more of this refreshing and original style of work.

Well done to you both, and Bill, with the Prospice heard, that makes two stunning vocal works i've heard from formidably talented colleagues here.

My continued admiration and respect to you all,

Alex.

Anybody reading this thread, and the update problems, could be mistaken for thinking it was about WINDOWS!!

Ahh, the world gets smaller every day, doesn't it......

Daryl,
I'm gonna sound like a heretic here, but i like the horn/bassoon transition, without reinforcing the bassoons. I always thought the modern propensity for doubling this part missed the point.
I'm going with Dave on the great horn parts (and Brass). The beginning of the last movement of the fifth (including the simple build up) gets me in the loins every time. What a great way to start anything. And let's not forget the fear Beethoven still instills in Horn players, with the sections in the seventh.

You made a good point about the limitations of the instrument though. And horns in particular. But i wonder if we've gained anything playing Beethoven on a chromatic instrument, versus the skill required to play in the harmonic scale with manual slide changes. I wonder if the modern horn is too....'fat' in sound to play as the composer heard it. And maybe this relates to the horn/bassoon passage you wrote of. Should it be, in fact, the reverse of modern expectations? A thinner sounding horn would create a better balance with the bassoon?

Still, what do i know!

Regards,

Alex.

Right, I've recovered, and put the elephant gun away.

And, i watched an old film here late last night, for which Shostakovich did the music. Delightful, to put it mildly, and i could hear both LVB and Tchaikovsky in the work, if we were to make a comparison. (Even Mozart gets a run, as this was a historical setting, and a particular formal dance scene showed Dmitri's mastery of more than two or three styles of writing.)
I will stick to my guns here with LVB. For a foundation, if one were to search for a purely study perspective, LVB still has much to say, and teach. This is strictly a personal opinion, and i will reiterate my preference for for the maestro, as one who has the most profound effect on me, in general. The texture of space between parts in the Quartets is a part in itself, and has proved a formidable study for me, as i continue to learn.

In relation to film, and if we were to stick to the last ten years or so, I think much of LVB's orchestrative structure has been ignored, in favour of the later styles of Stravinski, etc... That may be ok, but we've waxed lyrical here quite a few times about the merits or otherwise of today's film scoring, and it would be fair to say, i'm less than enthused with the result. And i will, on reflection defend Daryl here, just a little (lol!), as Tchaikovsky's string writing has to be part of any research and study in writing for image.

Personally, LVB taught me two things immediately, those being part writing, and the power of silence. In addition, his mastery of syncopation speaks for itself, and as Daryl wisely pointed out, the contrapunctal instinct is worthy of any study program, be it formal, or in my case, a lifetime enjoyment.

Tanuj, it seems you have quite a bit to get you started, and i'd like to add Nikolai Rimsky-Korsakov to this list. His melodic writing is excellent, and in structural context, he creates images in music that may prove extremely useful in writing for film. Nikolai, IMHO, creates wonderful 'stories in sound', and is part of my present study program for this reason, among others.
(Mlada, The Golden Cockerel, Sheherezade, etc...)
In addition, and in the same vein, Borodin is a true master of the russian form, and there is much of his thematic material in film scores today. He's often ignored in 'declarations of popularity', but i consider him a real heavyweight in the development of modern musical form.

Another three roubles worth!

Regards,

Alex.

What?
Hold still while i load the elephant gun!

Seriously, you may well be right my friend, as i don't write for film and image as a first intent or purpose.

Now i have to go and lie down.

Regards,

Alex Van Shockedhoven.

Tanuj,
I sat back and had a think, and it occured to me that you've been incredible enthusiastic on a consistent basis since you arrived here. I admire that in people, and stepping back to my own past and the lifetime enthusiasm i've had for writing and playing music, i offer the following, as a personal reflection, and possibly a source of humour for you and my fellow colleagues here.

As one who was fairly easily embarrassed as a youth, and decidely uncertain when it came to dealing with the opposite sex (my my how things have changed, lol), i found refuge in music. My grandfather would play me classical recordings on an old gramophone, and despite the variations in speed that came with such equipment, i learnt to enjoy a wide variety of music, from many composers. His favourites were the russians, and that tends to stay with me today, although Beethoven 'spoke' to me the most, and he is my most listened to, and admired muse. I've always had an enthusiasm for knowledge, and i consider the art of learning a fine way of keeping the mind sharp, and active.
But, there were times when the fear of getting into an embarrassing situation, would hold me back, and sometimes cruel and cynical comments from others would prevent me from pursuing some new line of reference. I entered the conservatory as a young man who wanted to learn as much as i could without restraint, but fearful of the potential for embarrassment, and it took a little while before i realised that the comments and cynicism of others were simply devices to hold me back, or put me down. When i reached that moment of awareness, then the sky was literally the limit, and i dismissed any cynicism with the contempt it deserved, from those who, by acting in this way were acknowledging, their own limitations, in both talent and determination. I could often be found in the conservatory library, late into the evening, thoroughly enjoying myself as i searched for more knowledge, and when the derisory comments came, i simply ignored them and continued on, as i considered my life my own, and not subject to the declarations or limitations of others.
When portable cassette recorders came out in a size i could carry in a pocket (albit a large one!) i carefully recorded all my records, tapes (reel to reel) and eight tracks onto cassette. This was a freedom i'd been searching for, as every waking moment that i wasn't studying, gigging, and breathing, i'd listen to a selected piece, score in hand, and work to make that connection i spoke of in the previous post. There were mant times on a gig when in a break, i'd find a quiet spot to sit, and do this, and i can remember on more than one occasion, when the other band members would have to search for me so we could start the next set!
Planes, trains, and buses, it didn't matter, i'd always have two or three scores at hand, plenty of manuscript, the appropriate cassettes, and what seemed a year's supply of batteries wherever i went. Not only a healthy supply of study materials, but good for staying shape as well!

I guess what i'm rambling towards saying is, we're only here once. (I'm not counting on stem cell research just yet.) And every moment offers the chance to do nothing or something. And there are people here and elsewhere who, bluntly, have information that you want. Once i got past the shy youth experience (Things have DEFINITELY changed!) i asked questions of those who had that information. I was fortunate enough to play in orchestras before an accident, and i took more than one string player to lunch with the intent of getting as much information as i could out of their heads, and into mine. They took it in good spirit, and i found most to be enthusiastic in sharing their perceptions, and techniques. I would take something i'd written, and they would cast an eye over it, offering points to consider, and highlighting potential issues from a player's perspective.
This is strictly personal, but i consider the pursuit of knowledge a noble cause, and as corny as it sounds, i would, and still, don't place any unnecessary obstacle in the way of that pursuit, including emotive responses to the prods and barbs of others, or being afraid or reluctant to ask questions for fear of embarrassment, that may hold me back in this marvellous journey through life.

Having enjoyed reading yours and others posts asking for information with the enthusiasm and determination i admire, i respectfully pass to you one piece of advice that I learnt early, and which has served me extremely well in my modest lifetime.

"Don't let anything or anyone get in your way, through intent or accident, in reaching for the stars."
Aspiration is measured by ourselves, not the benchmarks others think we should have.

I wish you and all my colleagues here every success in whatever you do,

Alex.

Tanuj,

These aren't in concert pitch (At least mine aren't), but i would reccomend Beethoven's symphonies and quartets.
The first symphony is a classic lesson in simplicity, and the correlation between notation and aural recognition is easy to make. (Not to mention the maestro's orchestrative skills.)

And again, although not as popular as the 3,5,9th, the 7th and 8th symphonies offer a good chance to make the notated/aural connection, just by nature of the way they are written.

I would also reccomend, as you show a desire for film writing, the symphonic scores of Dmitri Shostakovich. In particular, the 5th,7th, and 11th. He also wrote scores for 40 films, and i've seen many of them whilst here in Russia. I would go as far to say, that given the culture and politics of the time, he would be a good nomination for Russia's version of Bernard Hermann. (And if you want to write for romantic film, Dmitri has many good ideas, and emotive tools to draw from that we hear in films of that ilk today.)

Beethoven's quartets are like a timeline of development in classical part writing, and, at least for me, good lessons in orchestration, something i have to work at, compared to those who find it instinctively easy. (I'm not bitter, I'm not bitter, lol) I'm also interested in fugue, and these provide a good reference for this form as well.

These may be worthy added suggestions for your study list.

This may seem rather 'nerdy', but as a conservatory student i turned up to many a lunchtime concert with score in hand (yes i sat at the back, lol), and listened and read with the intent of making a triangular connection: that of Notation, Hearing, and 'Seeing.' I found this exercise extremely useful in making the further correlation of notation converted to the physical performance. I would often mark my score with a pencil. marking the up/down string bow directions, etc... It gave me a real clue in my attempts to write decent string phrases, and helped me to 'hear' the notation more clearly. I still wrote some unplayable parts, but that was more to do with lack of attention to detail on my part!

I have a further suggestion.
As one who now speaks more than one language, i would use repetition to get the info stuck in my head, until it became instinctive. Sometimes it went in easily, and sometimes i would need to go over things many times. (Doh!)
If i wanted to learn a particular orchestral device, i would do the same, playing the sound, and reading the score until, eventually, the light came on, and the notes on the page would 'play' in my head, without the need to hear it from a recording. Orchestration would match notes, would match sound. The device became instinct, so to speak, and was added to my compositional toolbox, to be used when appropriate.
This seemed to, and still works, pretty well for me. We all have differing rates of information absorbtion, and the resulting perception, so this may not work for you.
But it may help in the understanding process.

I wish you luck and success.

Regards,

Alex.

You say Marcato, i say Portato...........

Matt, no insult was intended, Humour, good or bad is still free, yes?

While i try to understand what you're doing, and i assume this is an investment in the future, i'm less inclined to see this as a barter of sorts, and that's not because of your offer of work in return, but a confirmation of the ever degrading confirmation of the professional status of orchestrators, etc.. It's not enough that work gets a little harder to find, but that those who have a lot of cash to invest in film, and make large profits, see orchestrators and other related crafts as less than worthy of a decent return, simply because they don't have to pay them as much, and don't consider them important enough.

Have you noticed the trend in Horrowood, for example? The same themes appearing like pages in a comic book in an ever decreasing pool of originality, and risk taking? Same thing happens in the concert world, with many orchestras and their administrators absolving themselves of the cultural responsibility of introducing new work alongside the standards, simply because the standards put bums on seats and put cash in the pockets of all concerned immediately.

It's a short term view, and while i'm not pointing the finger at you, the more freebies that are eagerly accepted, the more the bigger players consider themselves free of blame for the scenario they created, of lowering the professional standing of the craftsmen and women who help bring a creative effort to life. Personally, i don't think you've done yourself a favour here, because if a director can't find the finance for the composer/orchestrator on top of the other musical costs, then either you're not exactly treating this as a business, or you're supremely confident this mighty effort on your part will pay dividends. And it tells you something about the standing you're held in by the fellow, doesn't it?

Another question to ask here is, if the director is financing this himself, and one would assume he's tried to source the cash from investors first, why wouldn't they give him the cash?

Good luck.

Christian, film making has become expensive all over the planet, lol.
But i wonder if this scenario actually has an opportunity within it. As audiences get bored with the formulaic stuff, they may start to look beyond the mainstream, and in doing so, encourage investors to take a further risk or two, in the pursuit of healthy returns. Breaking the back of the cabal controlling theatres, cinemas, and corporate filmaking won't be easy, but if their profits dip far enough from audience boredom, then the structure may change.

Just my 8mm's worth!

Alex.

And with all that milk and all those eggs, the job would be even less economical.

Because you'd need a couple of ton of laxative afterwards.......

No,no, Paul! First he'll turn up, and then invite all the other brothers!

You'll be up to your neck in Monk!

Greetings Spartacus, and how's the renovations doing?

Regards,

The Slavic Limey avenger!

There's something about that Contrabassoon that, well, erm...........

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I've been reading this thread with interest, and learnt a bit.

It's also been my experience in life that experts can occasionally miss the obvious as they tend to think at a more complex level for the root of a problem, or a collection of problems that together have a cumilative effect?

So, the basic questions i ask at this point, based on the problems presented, are:

Buffer size?
We all have different ways of working, and differing setups. And as i guess we all know, sometimes the rage in the machine can produce differing results based on the same setups.

Conflicting Buffer rates?
I've had this one before, and juggled rates until they matched, and i could input with tolerable latency, and still get relatively clean playback.

Data timing issues?
Does one stream of data hit the DAW at a faster rate than another? That is, does the stream rate differ between sampler player types according to the usual HD in/out rate, processor load, or the speed of the specific sampler data request?

Two different sampler types calling samples from the same HD?
I've done this one too, and had to change things around until everything was relatively happy, including separating libraries onto individual HD's, not just different volumes and partitions.

Differing Sample Data pre-buffer sizes?
If the VI has a fixed buffer, and Kontakt has a user designated buffer option, are the two matched?

And given there are some users who don't have problems, i wonder if the issues are not VI or Kontakt related at all, but a driver conflict, or something as specific as HD Volume sizes, partition sizes, partition order,etc...

How many of you expert chaps run a small, fast, clean system drive, and dump all the other stuff on extra HD Internal/External IDE/SATA etc...., with the same attention to partition order,size, etc..

And how many with Macs are still running early Tiger or Panther OS's versus the latest updates? How many with older OSX's are having problems?

I'd be interested to hear from those who don't have issues, just how they set all this stuff up, including partition size, order, etc...


Alex.

Erm, I never said it was going to be easy!
But its the least i can do given the formidable contribution you've made to my own miserable knowledge of computer hardware and software....!

p.s. If Sib5 doesn't work out, let me know, and i'll send you some parchment.

Now THERE'S a technology i understand!

I can help here, Christian.

...Put one one note in.

Then another one......

Then another one....


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Just as an addition to this, over at logicprohelp.com, they have a logic environment that John Frizzell uses, or has used, to write straight to score, with minimal use of the other editors in Logic, available for DL.
Made my brain hurt just looking at it, but some of you logic experts might have a better idea of how it works.

H,
I look forward to the interview.

Regards,

Alex.

I've tried this in the past with women, and had mixed results.

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Thanks for the clarity, Dietz. I can cope with the three verbs concept at the moment, and, trusting the ears, experimenting with possible combinations of verbs. I'm sharp enough to understand what you're talking about, but it will take practise and a lot of experimentation to grasp the finer nuances, and put that understanding into practise.

As a middle aged fart who spent more time playing and writing than engineering, i'll have to learn to walk before i can run, and then fly!

Regards,
Lexi.
(The musical Brontasaurus.)

Lol.
No doubt 'Mozarti' is rolling in his grave at our dreadful humour!

Lexi.

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Lol.

Naturally!

Lexi.

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Taking a quick break from a current project, and after a hearty Saturday morning English Breakfast (More than enough to put hairs on everything!), i sat down to listen to these latest additions to the ever growing VSL portfolio, and offer the following.......

Puccini, Michi, erm... Dietzy(?), and Ferdinand.
An elegant rendition of one of my favourites. I've heard this piece both rendered in all its glory, and destroyed by the aspirations of the untalented. And as one who prefers a fairly narrow and quicker vibrato from a tenor, i listened with some degree of caution, Ferdinand, as you began singing. I mean no offence with this, but strictly a matter of personal preference. As the piece progressed, and the orchestra and voice opened out, i enjoyed the performance more and more. Contrary to the likes of Carreras, etc. you resisted the urge to go OTT, and the ending sat in a great balance with the rest of the piece. (I once heard some chap called 'The Voice' attempt this, and wanted to castrate him with a pair of house bricks from the outset. It was horrifying.)

My admiration and respect to you and the team for a balanced, elegant, performance. A most enjoyable listen.Michi, nice touch with the Rubato. Not too much, not to little. Dietzy (?), again i'm overwhelmed by your mixing capabilities. Really great sound. I'm still experimenting with your 'Three Verbs' approach and finding out lots of useful stuff along the way that has improved my own output. (Which isn't hard to do, if i'm honest with myself, lol.)
As a side note to this, I'd REALLY like to hear Ferdinand do something from Wagner, or the tenor line (along with guest singers) from the last movement of the Maestro Beethoven's ninth symphony, as he think his voice would give a robust 'Austro-Bavarian' work an added performance attribute. A wonderful 'round and rich' tone.

Amit.
A wonderful piece, and my compliments on the orchestration. Excellent stuff, delightful, and most importantly of all, really interesting! If there's one single thing that I find troubling to listen to in sample performance, it is the lack of dynamic range married to good orchestration, and you more than satisfied in this regard. A generous supply of light and shade!
My respects to you too.

Bill my friend, another excellent performance. The adagio has been murdered countless times by the experienced and egotistical alike, and if there's one thing they all have in common, is their prediliction for performing this too slow, in some vain and misguided attempt to give this piece some 'passion'.
This piece relies (IMHO) on the relentless nature of a steady tempo to give it added power and passion, and you're obviously aware of this. Thanks for not turning this into a maudlin, funereal, tribute to 'one hundred dead kittens', like so many do.
The organ control is excellent (And i'm leaving this one alone,lol.). I've heard a somewhat similar arrangement of this destroyed with a rambunctious organ part, as if the performer were incapable of understanding that an organ can be QUIET, TENDER and MYSTERIOUS, as well as crashingly loud. Again my thanks for your musicality, and understanding.
Superbly handled dear fellow, and my respects to you.

Mr Rotondo, my respects to you for a good performance. Strictly as a personal, subjective view, i would have preferred a little more dynamic range, but in these days of ultra compression, and loud is good, my opinion may well be the last, desperate, death thrashingly mournful cries, of a musical Brontosaurus.
A sound performance, and my respects.

As for the OBVIOUSLY rampant sense of humour from colleagues (you know who you are) who would, in their mischievous best, dare suggest these glorious sounds could be suited to, and reduced to, the likes of kareoke, (with all the technicolour images of Japanese businessmen giving themselves some sort of life threatening internal hernial rearrangment, and they reach, in vain larynxial aspiration, for that last note) i thank you for giving a chance to have a glorious chortle on a rest day.

Regards to you all from a very busy slavic limey in bright, sunny, and princess laden, Moscow.

Alex.

http://techreport.com/re...igabyte-iram/index.x?pg="1" "="" target="_blank" title="http://techreport.com/reviews/2006q1/gigabyte-iram/index.x?pg=1">http://techreport.com/reviews/2006q1/gigabyte-iram/index.x?pg=1">http://techreport.com/reviews/2006q1/gigabyte-iram/index.x?pg=1

To add to the discussion....

Aaah, the old big bore versus small bore debate rears it's ugly head again.....

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