There\'s been talk about GPO stacking seperate samples of the same instrument to create triple unisons instead of having a sample of 3 playing at once. Is that true, or does \"3 for ensembles\" mean a non-splitable triple unison.
For instance, the trumpets are listed:
Solo Trumpet (Two Soloists)
3 Trumpets for Ensembles
Are those 3 Ensemble Trumpets divisible or would using them in a triad turn them into 9 Trumpets like Garritan said he didn\'t want to do?
Many people have assumed that they are divisible, but I\'m not sure. I think that is limited to the soloists. That would mean lots of program changes to get the right amount of trumpets playing for a written piece.
Could someone with hands on GPO experience please elaborate?
The 3 trumpets for ensembles are 3 solo trumpets not sharing the same samples. These instruments are not as detailed as the solo trumpet. When you play 3 note chords you get 3 notes, not 9. This was designed for people using notation programs or learning how to orchestrate. Hope this makes sense.
The 3 Trumpets for Ensembles are three distinct instruments. For example, if you want the 3 Trumpets playing at once, you need to load all three instruments into the player. The same is true for the rest of the library - except for the Section Strings, which are built on samples of multiple instruments playing at the same time.
Oh, Good. That will save me lots of time. Does anyone know how spaced out the ensemble samples are? Hopefully at least one sample per two \"white keys\".
The \"forte overlays\" system seems to decrease the usefulness of the above though.
I am realizing that regardless of shortcomings, I will buy GPO as my entry into better orchestra samples. The promise of updates will hopefully mean some better samples per customer demand.
The demos are very good, and considering the price of assembling a state of the art sample section the larger libraries, coupled with the amount of processing power you would need to load them all...
This is a good solution, and I hope that it quickly becomes accepted in Hollywood (for mockups) alongside the Jeremy Soule quality mockups. I would like to know that Producers wouldn\'t be so picky as to question the exact attacks in a mockup, but I might be dreaming. I want to just write the music in Sibelius or Overture, have that be the mockup and then get it played by the real orchestra who would have no problem reading my staccatos tenutos and sforzandos.
In my recent research of samples, the the one thing that seems overwhelming is hearing the demos of the people who spent 10,000 dollars and feeling like I\'ll never be able to get a job unless I win the lottery and buy state of the art. I thought composers were just supposed to compose.
Even though most directors don\'t hear John Williams scores until the recording, it\'s not just because he\'s trusted. Its because he\'s from a time where that was the way it was, whether you were Leonard Rosenman or John Williams. ALL composers had the luxury. I\'m sure there were nit picky producers, but at least they didn\'t need to hear a freakin simulation of every instrument first.
Wouldn\'t it be nice if Producers could just look at the score while listening to the demo, and we could stop programming every nuance? They would just look at it and know it was meant to be sfzpp with a crescendo to fff.