Hi Dietz,

Thanks for helping!

I know this is slightly off-topic because I do not intend to add  any Virtual Instruments to the Mix, but maybe the information is useful anyway.

Here is my result (Recording Studio Weiler):

wav-file

MIR Settings

Miracle Settings

Regards
Stefan

Hi Ben,

thanks for the quick reply!

Best, Stefan

Hi,

very interesting topic.

We recently recorded svereral tracks with a Lute with a stereo mike in the studio.
Should I convert the signal to Mono before feeding it into MIR?

Best Stefan

Hi Paul

it's a great peace and very well done. Sections like the ones in 0:50, 1:17, and 1:50 are so convincing (Hope I got the timemarkings right).

Sometimes I would consider doubling the melody of violins 1 with flutes (e.g. 1:50. or 2:20). If you haven't done so and I missed it. The Bass line sometimes a bit more rythmic and snappier with shorter notes and the supporting harmonic background a tad bit more present.

Hope I can listen to your symphony soon.

Best Stefan

Hi Paul, the bass sections is certainly very prominent. For that matter I would have made it sometimes a bit more  brassy. The doublebasses seemed very dominant.  But I might be totally mistaken.

I will give it another listen tonight. Worth listening to anyway. Really enjoyed it, because it was so playfull with the whole Star Trek sound  world without getting cliche.

Stefan

PS

0:40 might have a bit more brass punch in my opinion.

Hi Paul

Very enjoyable piece. You really captured the spirit of the Star Trek motifs and their orchestral patterns beautifully und quite originally.

A few times I wished the dynamics where a bit stronger (e.g. after the intro at about 0:24).
I would consider to give the bass section a bit more Tuba and Bass Trombone Power in the forte sections.

But anyway. Fun to listen.

Best Stefan

Here is new version of my Blues#1

More dynamics, and admittedly a bit more reverb.

Blues#1

The Piano is the Bösendorfer Imperial

https://www.vsl.co.at/de/Keyboards_Complete/Boesendorfer_Imperial

which is for my intends and purposes a really great library.

Best Stefan

Hi jasensmith,

thanks for listening.

I think you are absolutly rigth and I posted the peace prematurely with not too much thought about the musical quality.

I just was so excited about the new instruments and got carried away.

I will reprogramm the piano part as soon as I possibly can.

Best Stefan

My very first steps with the incredible Libraries:

Upright Bass
Jazz Drumms
Bösendorfer Standard Library

Reverb: MIR24 Studio Weiler Live Room

https://soundcloud.com/stefan-telser-1/blues1

These libraries offer so much, I fear it will take a long time to explore them...

Best Stefan

Hi William,

thank you for listening and your comment!

The English Horn Sonata consists of several parts: 1. Langsam (nicht schnell) 2. Allegro pesante 3. Moderato 4. Scherzo, schnell 5. Moderato 6. Allegro pesante

Altogehter it runs for aproximatly 10 minutes. Currently I'm working on Part 1 "Langsam". I find it very difficult to find a meaningful phrasing *and* doing the MIDI Programming.

The samples (English Horn Viennese and the Bösendorfer) are really great and so is the MIR System.

Though I'm still struggling with what software (DAW) to use.

Best Stefan

Sounds very convincing.

Best Stefan

Very expressive performance. The playing of the Violin sounds very natural and lively to me!

Best Stefan

Hi

I no way I meant to belittle the Violin 2 as an instrument. I just sometimes find it hard to combine instuments that were recorded or produced in different fashions.

For example I like to combine the Triple Horn (VI) with the Horns of the Dimension Brass. The problem is that they seem to be recorded with very different velocities in mind. I have to play the Triple Horn (Dimension ) one dynamic level higher than the Triple Horn(VI) to get the same dynamic. In numbers that would be a velocity of 110 vs 90.

For that matter I prefer to apply the same instument  to both melodic lines using a second instument of the same fashion only to play the unison. That probably degrades the sonic experience in some way, but to me it makes work somewhat easier. I have to admit, I struggle anyway with the complexity of the system. And for two violins playing unison - well - I would prefer to have two violins recorded together than two different single instruments.

Best Stefan

Hi Paul and Fabio!

Thank you very much for listening and commenting!

The piece is very funny and joyous indeed. And the VI English Horn is really great.

Currently I prefer short pieces. Besides that I really like short stuff, I'm afraid that my (so far) complicated and unefficent workflow wouldn't apply to larger and more complicated setups.

I kind of  blunder through Siblius, Cubase and Melodyne (back and forth). I use Sibelius because I never got used to the piano roll editor and prefer a notation systems. Furthermore - if there are  instruments playing the same line - I find it much easier to just copy&paste articulations and dynamics between systems. With expression maps I find it much harder to apply the same articulation setup to multiple tracks quickly. In Meldodyne I control the vibrato on the long notes and Cubase I use for the final mix. As for the articulations of the VI instruments I'm still uncertain which to use when, and there is too much trial and error involved. So short pieces are very managable for me. With longer and more complex pieces I would get lost pretty soon I guess.

Best Stefan

Hi

I've been exploring the English Horn (Viennese) and the Bösendorfer (Special Edition) with this short piece by Paul Hindemith.

https://soundcloud.com/stefan-telser-1/scherzo

I was recently very impressed by some compositions and arrangements  in the this forum that featured chamber-like music. Putting the focus on single instruments, rather than big ensembles.

I think it is really difficult to achieve good results in this kind of midi performances. Still I wanted to give it a try.

As reverb I used MIR24 -Synchron Stage Vienna.

Best Stefan

Hi,

I would wish for two violins recorded unisono (The samples maybe taken from dimension strings). Then I could use my Solo Violin for each voice and simply switch to the unison patches when they play unison. I don't know if this sound convincing with violins.

I do something similar with flute 1 and 2. I use flute 2 only for doubling.

Its easier and more consitant to program and to handle. This may seem a bit of a waste of sample power but - honestly - I don't really hear a difference between the two instuments. As I said, it makes programming - in my opinion - easier.

Actually I would love to have all instruments recorded in pairs (similar to the ensemble patches that come mostly in three).

Best Stefan

Hi Paul,

thanks for the info. I will strongly consider your recommendation. The Bösendörfer Piano sounds really great. Even in the Special Edition.

Best Stefan

Hi,

I've got a question regarding the Bösendorfer Imperial. Currently I'm using this instrument from the Special Edition.

I understand that there are differences in Mic-Position and sample content (Key Noise) between Special Edition and Standalone Product.

In the Standalone Product Info there is something about automated Repetition Performances. Does this feature apply to the Bösendorfer Imperial Special Edition as well, or do I have to get the full product to make use of it?

Thanks for helping
Stefan

Hi Dave,

it's an amazing composition and an amazing performance. I enjoyed it very much.

Best Stefan

Hi Paul

The preformance sounds very convincing and I think it is a great achievment-

I cannot possibly imagine managing such a long piece in any DAW. I'm quite overwhelmed  to manage my 2 minute renderings.

Do you break the piece down into smaller files?

The only suggestion I would make is trying to advance the notes of fast legato string passages by a few ticks. As the transition should have been completetd on the notes beat it is triggered at the beat of the note by the legato patch. I don't really know if it would make an audible difference, it's just an idea.
The performance is very good, so don't give it too much thougth.

Best Stefan

Hi Paul,

Thanks so much for the quick reply!

Simple math. I can do that.

Best Stefan

Hi all,

I would like to insert a nagative value in the transpose by semitone field in the Edit Tab of the VI-Player . But negative values default to zero. In the transpose by octave field negative values are accepted.

I checked the manual and searched the Forum also downloaded the latest VI-Player, but didn't find a solution.

Thanks for helping.

Stefan

The legato-sus seems to be miising in the Triple Horn Extended Lib, whereas the Triple Horn of the Special Edition seems to provide this articulation.

I checked the manual for the Triple Horn, but couldn't find neither perf_leg_sustain nor legato-sus.

Stefan

Hi Pierre,

thank you so much for your help.

It seems to be for most of the instruments in the Resources Folder.

Best Stefan

HI all,

In the Special Edition I can find for each instrument an articulation named "legato-sus".

As far as I understand, this articulation automatically crossfades from a legato transition to a standard sustained patch. The advantage would be getting the extended velocity layers of a sustain patch (in comparision to the "real" legato articulation which has only two layers)

But I can not find this (sometimes conveniant) patch in the Extended Libraries.

Planning to move to the Extended Libraries of each instrument in the near future I wonder If iÍ have to keep my Special Edition on the harddrive just for this one articulation.

Do the extended libraries really not have a "legato-sus" articulation or am I missing something.

Best Stefan