I posted this on the VSL site, but I really want to share it with you guys. Obviously I must write a disclaimer that I dont want this to turn into a thread about \"which is better\" since I dont believe there will ever be a definitive answer to that, I just want to share a bit of the experience I\'m having with VSL.
I cant seem to make myself sit and compose with the VSL samples. I always load stuff up, and start testing stuff, then I immediately lose myself in playing stuff instruments as if they were instruments.
I have been focusing on the repetitions samples as of late, just trying to come up with user tips, and ideas for the future...but I went back and tried the legato/grace note flute stuff again....because I liked them before...
its amazing...I\'ve never sat down with any sample and close my eyes and enjoy actually playing and listening. I dont spend time tweaking things or anything, I just lose myself in it and \"feel\" the instrument play
I wanted to say this because I actaully feel like I\'m learning how to play these instruments, which will ultimately help me compose. I\'ve put so many ideas in my head for future orchestration ideas and compositional ideas just from playing around with something that sounds so amazingly real.
This is truly an inspiring library and I hope everyone finds that out.
The future of my music creation and career in music thanks you all at VSL. I\'ve never felt so excited at what *I* may end up composing.
I know its goooey, but the truth is, I may have found myself enjoying libraries, but I\'ve never seen a brighter future for myself in terms of the music I will compose. I\'ll still use older (and newer) libraries with VSL to help create an overall \"sound\", but this will be the library I use for musical inspiration, just because everything is plays so \"musically\"
One night my friend was intoxicated and he swore that he experienced God. We were all embarrassed by this. (Even if it were true, we were still embarrassed.) The next morning he sobered and apologized to all of us.
Are you working with the Performance Set or the Orch Cube? Can you recommend one over the other?
It seems that you are so intoxicated with the sheer delight of the sounds that it is hampering your creativity! Please tell I am wrong. Am I going to buy VSL, play the samples of the flute, throw away all my MIDI sampling equipment, buy a real flute, cut off the soles of my shoes, and sit in a tree playing the real flute the rest of my life?!
It\'s weird, because I haven\'t been into this for so long (and keep putting it off... I used to compose for TV etc.) that it\'s hard for me to believe that a library would be inspiring. BUT, I MUST admit the demos I\'ve heard recently are really making me sit up and take notice. We are reaching the point with samples where 99 percent of the public is not going to know the difference. We are reaching the point where instead of \"dumbing\" down your writing to fit the samples... you have used to be about 90 percent of your job... well now maybe it is only 40 percent? (A guess.) Part of the problem with writing orchestrally is that you tend to think in sounds that have never been available to you in a sample library. Now this is changing. Also, the way composers compose seems to be changing. When I was cutting my teeth, I was told to composer AWAY from any instruments, including piano. I think this is wrong. There is a story about Stravinsky taking a few lessons with Rimsky-Korsakov. Stravinsky had asked something like \"I\'ve heard I should composer away from the piano, but I don\'t. Should I?\". Rimsky-Korsakov\'s answer was something like \"Some people compose away from the piano, some people compose at the piano. For you, you will compose at the piano.\" The implication being that Rimsky-Korsakov understood that SOMETHING was going on there with Stravinsky, so why try to fight it? Stravinsky is well known to work out ALL of his ideas and orchestrations at the piano (and was very paranoid about anyone listening in, so much so that he built a sound-proof room in his humble Los Angeles home.) So, maybe Stravinsky would have used these samples and tools? I was recently at a symposium in New York where I asked John Adams how he composed (this was a meeting after the September 11 piece), and he said that he used synths and samplers and sequencers in his process, but ultimately then transcribed to paper for final edits. This is a process that I actually have followed many times. There are often \"mistakes\" in things that I have composed by improvising on the sequencer that only analysis has caught.
Just a bunch of random thoughts, for whatever they are worth.
Absinthe makes the heart grow fonder... [img]images/icons/grin.gif[/img]
Seriously, King,are you saying that you can play one art file of one instrument (say, oboe) and be as expressive as you like (in general?) Is it about the legato tools, or the samples, or both? Or are you just so familiar with them now after all those hours editing that you can see [past the limits? (now I\'m starting to sound lilke the Grail is in sight.)
Is it?? For true improv, not just orchestral articulations and sensibilities?
I honestly believe that the VSL legato stuff works wonders for improv, but you must understand that I take it as an extreme learning tool as well.
It wont do for staccatto performances (tho I have some programming ideas), and it doesn\'t let you do flutter tounge on the fly or other things you could possibly think of [img]images/icons/wink.gif[/img] (but trills work pretty damn well)
what it does do is ispire you to write great legato performances, whether its faster runs or slow moving melodic lines. I must say that I\'m generally not inspired to write legato \"lines\" with any library. I do become inspired to write with some libraries and sounds, but this library makes me want to think/focus on individual lines, and movements. I really appreciate that. I dont jsut think stacatto, and percussive like other libs either. I actually think in terms of \"playing\", with the legato stuff. Its honestly an inspiring tool for anyone thats used samples before.
In fact, I just want more users and devlopers to know that this blows me away. The more instruments with features like this the better for the end user.
I enjoy good libraries because I can learn from them, not only because they sound good. This library proves it will be invaluable as a learning tool to me in terms of composition.....for a long time to come. *ANYONE* can appreciate its advancements.
Its not the end all sample library....and for the nth time, there never will be, but the point for me to make is its inspiring, and unthinkably so until I sat with it.