During one of my Gigastudio error freezes, I had some extra time to think about \"Giga composing\" and wanted to share a few thoughts. I\'ve been sequencing in Gigastudio for about a year and have had a lot of confusions in how to go about composing with Giga. For a year, I did all of my sequencing on a MPC2000XL drum machine with only one Giga machine and am very excited to announce that I finally will be sequencing in either Protools or Logic and will add additional Giga systems! It was VERY difficult working with Giga on a drum machine. Please share your opinions on the following:
1. It is VERY time consuming to create a realistic sounding orchestra. You can make good music but if you just record yourself playing chords in realtime, it won\'t sound real. To achieve realism in Gigastudio, you need to put in the time to select proper articulations, do sequencer edits, etc...A LOT of time..
2. I don\'t quite understand the proper way to compose with Giga. On one hand, you shouldn\'t let what samples and articulations you have define how you write, but if you want it to sound realistic, don\'t you have to somewhat compose to the samples you have? Do you guys purposely compose \"to\" your samples and system limitations?
3. What percentage of your sequencing is done by recording your realtime playing as opposed to editing Midi values?
4. I\'m a little confused by the sheer number of different patches that pop out when you load a GIG file and how to go about using them effictively...Let me get this straight. If I\'m doing a first violin passage with lots of different articulations, I would first just play the passage with whatever patch, and then try and find a \"Keyswitch patch\" that would have as many of the relevant samples to my passage as possible and trigger those...(Keyswitch patches are designed to save Midi Channels?) and the articulations I need that weren\'t in the Keyswitch patch, I\'d have to go and find the individual patches and load them up on other Midi channels...I could then just drag the relevant notes from my original midi channel to the new midi channel...AM I GOING ABOUT THIS THE RIGHT WAY? If that\'s the case, just one violin section\'s worth of articulations could take up 16 channels right? Please please please share with me how you go about composing in Giga..I feel it would help many of us!
5. T or F. Sequencing in Logic or Protools on a computer monitor will be much easier for me than sequencing on a drum machine with only a step edit midi sequencer....
I feel a lot of people will have comments on this...Thanks and take care.
Hey Vince - didn\'t I used to see ya around in the Tascam forums? (I used to be HeyMikey)
Last question first - It will be leagues faster in Logic (Protools users will want to step in here – we have the software but choose Logic – that’s another topic).
Ever paint a whole house with a toothpick? Kinda sounds like that\'s what you’ve been doin’. Please stop that – it’s making me dizzy [img]images/icons/smile.gif[/img]
Anyway we set-up many midi tracks in Logic and record our chords, pads, controllers, guitar-to-midi controllers, light beams – ANYTHING that’ll get lot’s of cool, unique and complex phrasing – just a regular midi keyboard is fine too.
We create midi “Aliases” in Logic to layer, say, the horns with the cellos/violas - a quick fun example. And we also have MANY audio tracks to capture this mess to.
We re-edit and re-edit and re-edit the midi data some more.
We do any crazy thing to the midi data we can. Copy one chunk of midi data then transpose that down an octave and remove the top and bottom notes of all the chords then link that midi data to the French Horns and let the original play the Violins (another fun example).
Yes you should compose to/for the articulations/limitations/strengths/weaknesses/annoying posts of library developers/ambiences/drynesses/brightnesses/darknesses - etc …etc….etc… of ANY & ALL libraries you use!
Render that to audio. Load as much Library as you can into your one, two or more PC’s.
Load in some more – render to audio again. NO it is NOT THAT time consuming. NO IT IS NOT INSTANT either.
It looks like the Tascam Forum refugee camp here :-)
I\'ll make a small number of comments.
Ack. Drum machine sequencing makes my head pound!
1) Yep. Block chords don\'t work - except for when you\'re finding the groove. The best results are played a line at a time - musically.
2) Don\'t confuse \"compose\" and \"perform\". You can compose anything and just proof it with Giga. And then you can move on to performance. If you\'re going to \"compose to the samples\" find the groove/melody/rhythm with the most exposed instrument, say the oboe melody. Then make everything else follow.
3) I\'m more a non-real-time guy. I compose in Sibelius to get the notes, dynamics, tempo and articulations just right. Then I move to the sequencer to \"paint the envelopes\", and scrub out anything that isn\'t musical. Then I mix. But there are lots of ways to slice it. If you\'re a good piano player, and you\'re doing more of a jam/feel thing than counterpoint, then realtime is the way to go. I\'ve been in counterpoint mode.
4) I\'ve seen the light with Giga and articulations! I give every instrument it\'s own bank. And every articulation gets its own patch. Where possible, I use the same patch numbers. For instance a hard-sustain-vibrato is patch 0. Expression sustan is pathc 1. 2 is detache. 3 marcato. 4 spiccato or staccato. and on and on. Some libs line up well. Others don\'t.
This lets me load GS to the gills, and save it as a template. And I don\'t have to worry about Giga renumbering my stuff. Then, when I compose, I have a little guide sheet that reminds me of my standard numbers. I don\'t need keyswitches this way, and that saves giga-layers.
The place where keyswitching is great is when you want to play a melody live, and you need the articulations on the fly.
After I\'ve finished a hand sequenced piece, I can re-do the most exposed/emotional melodies/harmonies my hand with a keyswitched instrument. But I\'m too lazy. I\'m usually ready to move on, before I get that far.
I hope there are some gems in there for you. Making use of banks to get consistent patch numbering has been really good for me.
I too have just made the leap from sequencing on my Roland XP-80 to Cubase SL. I had put off the computer (for music) for as long as I could thinking it would distract me from my writing. Man, I was wrong! So much easier, tons of beautiful VST intruments, (I own Halion and Xphrase), so much more control over a project and the song. Dive in, make some mistakes, and watch your musical boundaries disappear!!
Thanks for the great replies so far..This is definitely a lot of help...
\"I\'ve seen the light with Giga and articulations! I give every instrument it\'s own bank. And every articulation gets its own patch. Where possible, I use the same patch numbers. For instance a hard-sustain-vibrato is patch 0. Expression sustan is pathc 1. 2 is detache. 3 marcato. 4 spiccato or staccato. and on and on. Some libs line up well. Others don\'t.
This lets me load GS to the gills, and save it as a template. And I don\'t have to worry about Giga renumbering my stuff. Then, when I compose, I have a little guide sheet that reminds me of my standard numbers. I don\'t need keyswitches this way, and that saves giga-layers.\"
I\'m kind of confused over this...I would assume it means you put a violin on channel 1, viola on channel 2, etc...What does it mean to give each articulation its own patch? I thought you could only seperate articulations via Midi channels..
JanFairhurst, I wish to thank you also for your helps I listened to many times. I remember that not so long ago you talked about putting your individual instruments on separate banks, than the articulations are getting patch numbers. At the time I decided that this is what I want to do also. Now that the Tscam Forum died I can not even search back for your posting, and frankly, I had it with them, I would not go back to them even for V3.
So, would you be so kind to let us know how you do this, from an existing mess of samples? Just with one sample ( I think you have the Garritan Lite version) if you could pick any instrument and tell us how you do it, do you have to go into the dreaded Editor? How do you make sure GS is not messing up everything?
I\'ve seen the light with Giga and articulations! I give every instrument it\'s own bank. And every articulation gets its own patch...
<font size=\"2\" face=\"Verdana, Arial\">What exactly constitutes an inst. bank (as opposed to a port, channel etc.) Where do you access this parameter and change it? All my patches read the bank as being 0 in the loaded inst. window I\'ve always just loaded individual patches, to MIDI channel slots in the 4 ports.