Raymond62
04-18-2009, 04:10 PM
Friends, Romans, countrymen, lend me your skills;
I come to bury GPO, not to praise it.
Of course I praise Gary and I never come to bury GPO strings and other instruments of this library. Since I purchased GPO I am struggling with this material every day. Why? Because I don't have enough knowledge of what is possible with an instrument and what not and what is more important how it sounds.
In those years I did hundreds of experiments, listened to more symphonies professional recorded than ever before and studied scores. Those latter not only for improving my composing techniques but also getting an idea of how those famous composers wrote down the music I loved to hear.
This community has so many skilled instrumentalists that I wonder if it isn't possible to make together a tutorial of the "sound" of the instruments we can program in GPO. E.g. is the downbow with a small amount of bow-noise really achieveable in real life.
Can't we all make or compile some "reference" library with real sounds? How much CC#16 should we add? Is a glissando for the trombones really feasible? What to include to let it sound realistic?
For woodwinds: tonguing
For brass: the minimun velocity to get some sound
For strings: how does the section sounds when using d1, e1 and how far can one go, etc. How to achieve the sound of marcato well enough to go for real life, how to make sautillé, staccato, spiccato, etc. Is this ever done in real life?
I think you get the idea. Getting knowledge of the instruments we aren't familiar with. Personally I have a fair idea of the possibilities of a piano and beginners-lessons for a cello, but how about the violins, flutes, bassoons (how far can they go, type of articulation, etc.).
While I was writing/rendering my symphony I fell back upon the sounds of some recordings and scores of Franck, Berlioz, Tschaikovsky and even Prokofiev and Shostakovitsj to get an idea of the relation between their writings and the recordings. A world of difference.
So, finally I wondered is it really possible what we want? Is the sound we produce the same as we notated in any notation program?
The challenge is there, let we make a wave file - or more - to expose the various sounds of the instruments we play and how are they notated.
Is it clear enough? I think we all gain knowledge when we know how our instruments sound in an orchestra. This forum has so many skilled people, why not educate ourselves?
Raymond
I come to bury GPO, not to praise it.
Of course I praise Gary and I never come to bury GPO strings and other instruments of this library. Since I purchased GPO I am struggling with this material every day. Why? Because I don't have enough knowledge of what is possible with an instrument and what not and what is more important how it sounds.
In those years I did hundreds of experiments, listened to more symphonies professional recorded than ever before and studied scores. Those latter not only for improving my composing techniques but also getting an idea of how those famous composers wrote down the music I loved to hear.
This community has so many skilled instrumentalists that I wonder if it isn't possible to make together a tutorial of the "sound" of the instruments we can program in GPO. E.g. is the downbow with a small amount of bow-noise really achieveable in real life.
Can't we all make or compile some "reference" library with real sounds? How much CC#16 should we add? Is a glissando for the trombones really feasible? What to include to let it sound realistic?
For woodwinds: tonguing
For brass: the minimun velocity to get some sound
For strings: how does the section sounds when using d1, e1 and how far can one go, etc. How to achieve the sound of marcato well enough to go for real life, how to make sautillé, staccato, spiccato, etc. Is this ever done in real life?
I think you get the idea. Getting knowledge of the instruments we aren't familiar with. Personally I have a fair idea of the possibilities of a piano and beginners-lessons for a cello, but how about the violins, flutes, bassoons (how far can they go, type of articulation, etc.).
While I was writing/rendering my symphony I fell back upon the sounds of some recordings and scores of Franck, Berlioz, Tschaikovsky and even Prokofiev and Shostakovitsj to get an idea of the relation between their writings and the recordings. A world of difference.
So, finally I wondered is it really possible what we want? Is the sound we produce the same as we notated in any notation program?
The challenge is there, let we make a wave file - or more - to expose the various sounds of the instruments we play and how are they notated.
Is it clear enough? I think we all gain knowledge when we know how our instruments sound in an orchestra. This forum has so many skilled people, why not educate ourselves?
Raymond