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Topic: What is your GOS setup

  1. #1

    What is your GOS setup

    Hi again everyone. Im on day 4 of my 2 week intensive journey into learning GOS and I thought I might pose this question:

    Given the hundreds and hundreds of patches (does anyone know the exact number?) in the GOS it would be impossible to load the entire library into one Gigastudio equipped PC.

    Assuming you have one very well equiped PC dedicated to Gigastudio and only the GOS library...

    Which patches do you load?

    Which patches do you find most useful for the working composer?

    What strategies do you employ to get the most out of your setup?

    Of course, the patch selection will be dependent on the piece you are sequencing so I guess my question is really towards a general base setup.

    Thanks in advance for all the input!


  2. #2

    Re: What is your GOS setup

    Hey Andy,

    Welcome aboard! Btw, your stuff sounds great [img]images/icons/wink.gif[/img]

    It\'s like you said, it really depends on the piece you are composing. Some people actually have multiple computers for Giga just for having the ability to load up entire orchestral templates. On one PC, like you said, it\'s a bit difficult memory and polyphony-wise. Just try loading up what you need and see what happens.

    Robert Kral would be a good person to talk to about this. He does the music for the TV show \"Angel\" and I believe he has Giga set up on his computers for entire orchestra.

    There are also the lite patches in GOS that can save memory as well.

    For short bows, the new aggressive celli and bass work very nice for fast stuff.
    1st violin marcatos and 2nd vln Martele layered sound really nice for fast bowings as well. The marteles especially sound good with the Up/Down ALT with Maestro Tools [img]images/icons/wink.gif[/img] .
    I prefer using the looped vln detaches for legato just because they are so expressive, but for faster legato the 2nd violin SusVs would be my choice.
    Usually on mixdown, I tend to EQ the violin susVs by cutting around 6 dbs of 3.2k or you can mess around with the WARM patches and adjust the sound to your preference.
    The celli rich susV is really nice for legato and all the pizzicato on GOS is fantastic.
    It\'s all really personal preference, but the sounds I\'ve mentioned are very nice.
    Hope this helps some!

    Can\'t wait to hear some of your work with GOS [img]images/icons/smile.gif[/img]

    Damon Bradley

  3. #3

    Re: What is your GOS setup

    Hey Andy,

    With a library of this size, its really only with time and experienmce that you will start to find what works specifically for you.

    I used to think that one \"start point\" could work for everyone, but I\'ve since tossed that idea out the window.

    There\'s too much involved. Inspiration, usuability, real-time control, vision of the end production...

    The start point is, potentially, the most important part of working with this library.

    About GOS setups and computers, I just upgraded to 1 gigabyte of RAM, and had 512 before. I haven\'t tried to see how much I can load up in 1gig, but in 512k I believe I could load up all the Sus Vib EXP patches (possiby using full violins and not the seperate ones.

    With 1gig I should be able to load up all the sustains and a few short bows. It may be a good idea to have \"ligther\" versions of the short bows in the future, maybe the next update.

    Still all the comprimises one makes isn\'t always for the benefit (and sometimes the detriment) of the final output of music.

    If you dont have the computer horsepower to laod up all the samples you need at a given time, it takes some getting used to working with lite patches for the basic composition, then replacing specific patches with full versions, and touching it up, then recording that one section to audio, then moving to the next, being able to remove one section completely from gigastudio because you\'ve recorded it to audio and can use the audio stream as reference.


    Obviously the most convenient (read expensive) way is to have more computer horsepower [img]images/icons/wink.gif[/img]

    You can most likely get away with one computer for strings with 1 gig of RAM, some people actually prefer \"lite\" instruments over the full ones for consistency between samples. It really depends on the piece tho, IMO.

  4. #4

    Re: What is your GOS setup

    I found that on my machine with a gig of RAM, that I can get all the essential sounds loaded from the whole library. I don\'t use the lite versions and I also prefer the control of the separate 1st and second violins so I don\'t use the combined strings. Without those, most if not all the library can fit into a gig of RAM on a single machine. This machine of course is tweaked for GigaStudio by Sound Chaser and uses Win98SE instead of XP. XP would probably use more RAM and not allow this size load. Now, to add insult to injury, I went through and killed every variation that I wouldn\'t use and simplified the whole thing myself and then manually killed every other note and streched the samples and cut the RAM usage in half. So, my entire GOS library uses about half of the RAM on my system and I can\'t really tell the difference other than having many more sounds online. I\'m now working with almost everything online at once and it really helps the creative process flow to just scroll to the sound and play it instead of hunting and loading. I need a couple more computers though so be sure and get my tutorial and help me get them.
    Take care


  5. #5

    Re: What is your GOS setup

    Originally posted by Andy Brick:
    Given the hundreds and hundreds of patches (does anyone know the exact number?) in the GOS it would be impossible to load the entire library into one Gigastudio equipped PC.-andy
    <font size=\"2\" face=\"Verdana, Arial\">I\'ve wanted to respond to you for the past few days, but I keep stumbling over these comments, and not really understanding what you\'re trying to establish by them. So in responding to you, I do so as professional writer/composer, not a programmer.

    My first approach with GOS was to go through what I consider to be the elements of our orchestral vocabulary with strings. Thus: harmonics, tremelos, trills (whole and half step), muted strings (per section and full orchestra strings), pizzicato. I then benchmarked these programs using scores and recordings. From the standpoint of a setup, I built each section on paper. So, for each section you\'ll have sordino, trills, tremolos, harmonics, etc. On paper this is Block 1.

    My next step was to listen to each bowing that operated independently of both Maestro tools and keyswitching for Legato so I could hear exactly what was available.

    Since I have Miroslav, Kirk Hunter, AO, and GOS, this gave me an overview of how Gary and Tom approached setting up the library. The approach of GOS leans more towards the MV organizational approach then Kirk Hunter\'s Virtuoso Strings, which are organized for rapid, out of the box use, vs. GOS which is organized around the idea of giving the composer enough control over the orchestra that he can create his own sound.

    These are very different philosophical differences, neither being right or wrong, just unique to each developer.

    I then examined the long bow sounds for each group, then the short bows.

    So from here, I built a block 2 on paper to establish per section, basic bowings.

    From here I ventured into Maestro Tools. Here, I would say is my biggest critique of GOS: much of the manual for Masetro and MIDI implementation is written at a programmer level more for the guys on Northern Sounds then for bumpkin composers like myself. Thanks to Tom, I got over this hurdle along with transposition issues between my Roland keyboard and Logic. So from here, I began really enjoying the legato bowings, and the expressive legato bowings. And here, a great discovery: you have to practice your pedaling to turn legato on and off so that everything comes out idiomatic.

    The next thing was reviewing the bowings for UP/DOWN ALT, and then spiccato, martele, etc. Here, I relied on my revision of Rimsky-Korsakov\'s Principles of Orchestration, where for each specific bowing, I have tempo ranges worked out.

    Finally, I just put together a few simple examples like Fairy Garden from Ravel\'s Mother Goose Suite, and other examples just to hear the strings as a whole. Doing that helped me see and hear how the whole is greater than the sum of its parts. Playing random bowings doesn\'t tell the whole story. It\'s when you set up simple examples for whole orchestra that you really see what you have in GOS.

    By taking this methodical approach just based on finding the most immediately usable programs, I built a template on paper for Vlns 1, Vlns 2, All Violins, Violas, Cellos, Basses. With this I now have a basic vocabulary for each section, so that as I write, my initial palette is available.

    Now, the tricky part - panning. I discussed this with Tom, so now there are templates set up for you with GigaStudio to pan the strings in the audio mixer portion vs. the MIDI mixer area. I\'ve found this to be a very effective approach. Also, from Norman Del Mar\'s Anatomy of the Orchestra, there are several alternate string seating arrangements which when deployed for sampled strings are incredibly effective for creating a whole sound.

    For a favorite sound? I think the better question is what do I consider the more effective bowings. I have to say, that King Great Guy\'s looped Grand Detache\'s are super for the violins. Beyond that, it\'s testing to see what works best for the piece.

    In regards to your comment about loading all the presets, I\'m sorry, I\'m still stumbling over that because realistically, why, except for musical machismo purposes, would you WANT to load the whole library? Besides, with only 64 presets available in Giga 160, how could you?!

    With judicious planning, consider allowing 8 presents per section for most pieces. That\'s 40, with 23 left for the rest of the orchestra and 1 for the click. Add accordingly. What this tells you is that you need a second system, possibly a third, for brass, woodwinds and percussion.

    If you approach it from an orchestration perspective, I don\'t think you\'ll max out your memory. I\'m running an older TrueSpec system (www.truespec.com), PIII 800 with 768MB RAM, Win 98SE and I\'m doing OK.

    Hope this helps. If you have questions, you can email me at the address below, but please be concise as I\'m on major deadlines through the end of the year.

  6. #6

    Re: What is your GOS setup

    Hi Peter, Dave, King and Damon

    Thank you all so much for your replies. They have been most helpful.

    Peter, Im not sure my terminology is correct so I apologize in advance if I misundertand what you meant by 64 presets available in Giga 160. Using bank switch controllers, my current Giga setup has over 300 presets consisting of most of the essentials from the Miroslav, Kirk Hunter, Roland AO, some Sample Cell converts and Classical choir libraries. It took some time to work out a patch list that would correctly reflect the setup in Digital Performer but now that I have it, its great to have the basics of the whole orchestra ready to go every day. When I need a special sound (like a bass flute or flugel horn) I just add it to my default orchestral setup. I guess thats what I am looking to do with GOS. I want to build a default setup that is ready to go everyday on one machine. On the rare occassions that I need that patch that gives me Warm control on slides, Ill add it to the default setup for only that specific piece.

    Dave, since the GOS library is designed as an open source library that is meant to continually expand and grow with user input, have you ever considered making your \"lite\" setup available to the users? I bet there are quite a few folks that would love to have a look.

    All my best wishes


  7. #7

    Re: What is your GOS setup

    Right now, what I have done is way to mixed up and mangled to be able to share it or I would probably do so. Garry seems interested in me doing that so I\'ll see how to go about it. In the meantime, I\'ll share what I did though and perhaps post a report on my system with pictures and details later. First of all I deleted every other note on the instruments I kept and stretched the samples, even the masking samples. Of course before doing this, I paired down my gig files from 20 or 30 instrument variations down to 4 or so. I killed all the warm versions since I can warm things up by eq when mixing. As nice as the release triggers are, I simply get more bang for the buck with extra sounds than the subtle effect of them so I decided to get rid of them. I also consolidated some instruments to a mod wheel switch. For example, on the Pizz strings, I have a three way mod switch that covers tight, loose and con legno. That fits on a single MIDI channel instead of \"three\" and gives me real time control to play live. Then I even imported some Miroslav and AO upgrade staccato sounds and some effects from other libraries into these large gig files. This consolidates all my similar strings together and keeps the patch changes standardized and simplifies things. I\'ll look into how to post working art files of my GOS specific stuff. It might be just be doable.
    Take care

  8. #8
    Join Date
    Jun 2000
    Chandler, Arizona

    Re: What is your GOS setup


    I would be interested in getting your mapping for samples for different tempos. Are you talking about the different short bows for specific tempos? If so, this would be very useful and maybe a nice addition to the manual.

  9. #9

    Re: What is your GOS setup

    Hey Dave,

    An interesting post since the next big update of GOS is to include a full-featured “lite” version that has similarities to what you describe – considerably reduced RAM requirements for one thing. We should compare notes (so to speak) in the next few weeks.


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