Just out of curiosity, does anyone know how giga sampled pianos are thought of in music schools these days? Are composers and piano students buying the sample sets and using them to practice? For that matter, are popular composers using them? (Many of the posts here seem to be from film scoring people.) I guess what I\'m asking is: is anyone marketing to the \"academic\" community and to song writers? As in actually visiting university music departments to demonstrate the libraries? Most large schools have sophisticated studios, but while their Art Departments have been aware of Photoshop for several years, I don\'t know that their attention has been engaged with piano and orchestral samples. (I can imagine orchestration and composition classes being taught with Giga computers: you could hear the results of projects immediately.) I\'m sure a few schools in California have already waded into these waters, but are efforts being made by Tascam and developers to make universities aware of the capabilities of the instruments?
I built two GigaSystems for Berklee College of Music. I believe they keep these systems in their synth labs. Of course Berklee is always on top of technology so the Giga\'s weren\'t exactly a quantum leap for them coming (depending on your perspective--I think they had A3000\'s and Sample Cell\'s before).
This fall I\'m lecturing at two different music schools on music technology, and part of the lecture will be a live Giga demonstration. One department is pretty serious about getting on board. They established a good music technology classs three years ago, and now it\'s a required course before students can proceed to upper division study.
I think this is all good, but I\'m the first one to caution against devoting too much energy towards production and electronic music in undergraduate school. When I look back on my own experience, I KNOW I would not be the musician I am today if I had not devoted all those semesters to learning how to play oboes, trombones, bass, viola, flute, clarinet, french horn, tuba, piano, organ...all those things they make music majors do. By experiencing those things first hand, even though I may not be a great player on any of them, I do know how they work, what the tone production methods are, and this knowledge informs everything I do. I worry that sampling and electronic study must come at the expense of something--there are only so many hours of study in a degree plan. There\'s very little in an undergraduate degree that can give way to the study of sampling, so the balance that must be struck is pretty delicate.
in fact, a friend of mine, Alexandra Pierce teaching composition/ theory at the University of Redlands, has mentioned that some of her students actually brought in electronica type of compositions. The general feeling is that there is \'no feeling\'...that sensitivity is giving away to hurried production with a few \'do-it-for-ya\' computer tools.
And yes, maybe these students are coming up with the bass lines and chords. But they\'ve missed out by skipping the music that is governed by gravity.