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Topic: Duncan's Mozart

  1. #1

    Duncan\'s Mozart

    I\'m almost in tears. It\'s late so I\'m in headphone mode and must hear this on the monitors tomorrow.

    Such delicacy of treatment of the strings, with layered solo instruments in just the right places. The delicacy of them...my, my, what sweetness...

    The care and consistency of the solo clarinet...again, fantastic attention to attack and cresc/decresc swells on the sustains...this is so close to perfection, it wrenches tears.

    Duncan, if this ain\'t your day job it ought to be. I\'ve never heard anything like this. From ANY library. Absolutely fantastic.

    Ah, the ornaments followed by the sfz\'s...such expressiveness. I\'m in awe of your ear.

    I hear your strengths in not only use of the mod wheel, but the volume controller. Combined, they\'re almost perfect. And I also think I know why some folks might hear an accordion--it\'s in the attacks, in SOME places. My God, this is beautiful...you might use volume on the phrasing at 1:38 -1:42 and again at 2:00 and 2:24 to soften the attack VERY SLIGHTLY (but keep the mod settings as is--the \'bite\' is perfect).

    This to my ear is the most beautiful realization of any orchestral performance I\'ve ever heard. Critics need only best it with their own \"this is how it ought to be done\" examples.

    Your use of rubato is superb. Oh yes, and trills. And the accents on the arpeggios leading to the cadenza beginning at 4:11...ahhhh...

    One last observation: flutes throughout. Just the right balance.

    You\'ve quite an ear, Duncan. Bravo!



  2. #2

    Re: Duncan\'s Mozart

    I agree with you, Jim, this is truly a masterful rendering of a magical masterpiece. The impact is powerful, and deeply moving. I have listened to it many, many times. It will have a permanent spot on my hard drive.

    Jim, rom your post, I think it\'s possible you\'re not aware of the control features of GPO. Attacks are determined by note-on velocity. Mod wheel (cc1) controls volume and timbre. These controls are uniform across the entire library.

    This was done with a $250 library. Who would\'ve believed this, two months ago? Thanks Duncan! Thanks Gary! Oh, and thanks, Wolfgang!


  3. #3

    Re: Duncan\'s Mozart

    Wind controllers can make a huge difference on phrasing even with old samples from ancient libraries. Wonderful demo though, I agree.

  4. #4

    Re: Duncan\'s Mozart

    Originally posted by dnortana:
    Jim, from your post, I think it\'s possible you\'re not aware of the control features of GPO. Attacks are determined by note-on velocity. Mod wheel (cc1) controls volume and timbre. These controls are uniform across the entire library.

    <font size=\"2\" face=\"Verdana, Arial\">Trond if that\'s so I stand corrected. I had experimented with velocity on the lush strings and noticed no difference--even swiping velocities to minimum and then to 127 across entire phrases within Sonar seemed to make no difference in the attacks; what seemed to sharpen the \"bite\" (vs. simple volume) was manipulating the mod wheel. Am I doing something wrong? Playing the lush strings with a keyboard yields the same result.

    I\'ve had GPO for what--three days, now, and have already ported the entirety of a piece I was working on in GS to it (working evenings), with more expressive results. When I finish the piece I\'ll send it back to GS so I can use GOS, SAM, et al. for the finished master.

    Maybe. GPO is good stuff.

    So, I\'ll go back and try the woodwinds\' attack with velocity...

    HOWEVER! I don\'t want to go OT with what Duncan did. Like you I have added his Mozart to my collection of keepers. Which means I\'ll be listening to it years from now. Duncan, step up and take a bow. You da Man.

  5. #5

    Re: Duncan\'s Mozart

    If you do not use the Lush strings Duncan - what do you use for the slow sections with string swells? looks like you used the sustains and shortbows - or maybe also in unison with solo instruments? Whatever you use - it works very well indeed. And though I love this latest work - I really enjoyed the overture to Magic flute as well. the entrance of the fast string sections in that piece really sounds very convincing to me and did more than anything to sell me on GPO. Bravo!

  6. #6
    Join Date
    Jun 2000
    Chandler, Arizona

    Re: Duncan\'s Mozart

    The lush strings do have the attacks programmed in them just like the sustain+short articulations. I haven\'t used the lush strings much either. The standard strings work better for Mozart and Beethoven.

  7. #7

    Re: Duncan\'s Mozart

    Thanks Jim for your gracious comments..I\'m taking a bow now. I must say this was fun to work on. I liked the GPO clarinet so much that it really felt like this concerto did not have enough clarinet! I spent most of the time on the other instruments and then simply performed the clarinet parts in a couple of passes with minimal tweeking. (I could have gone on and on during the candenza, but I don\'t think Mozart would have been too happy if I did)

    The programming may be different on the lush strings than the other strings. I currently only have an early beta which did not have attack control on the lush string patches. I\'m not sure if this was ever added. In general I would use the other strings for the meat and potatoes then layer the lush strings to fill out the sound in places. In particular I found the main cello section a bit bare sounding.. the solo cello and possibly lush strings really help fill out the sound here. (note.. I haven\'t yet used the lush strings in any of my demos)


  8. #8

    Re: Duncan\'s Mozart

    For the string swells, something I find that works is swelling more in the solo strings than the section strings. The solo has more noticable vibrato and is brighter, causing an increase in intensity during the swell.


  9. #9

    Re: Duncan\'s Mozart

    what breath controller did you use?

  10. #10

    Re: Duncan\'s Mozart

    I\'m using a Yamaha BC3a. It\'s OK but not tremendously sensitive.


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