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Topic: Testing GPO: Lots of demos

  1. #1

    Testing GPO: Lots of demos

    While we were at the chat last week Gary was listening to some tracks I made to test GPO and he asked me to put them here for you. First, you should know the following: I bought GPO to use it on my laptop as a sketchpad for composing. In order to hear what it can do I used a couple of classical midis. So everything here is straight out of the box (Yes, I even used wet samples!) monitored with headphones. With proper mastering and some more work you shure can get more out of GPO - but this was made for testing and not for publishing.
    To cut a long story short: I was very surprised what is possible with a $249 sampleset. Still having a hard time with some of the big giga-libraries I was specially impressed by the ease of use of GPO.
    End of commercial break - to the music:
    As a former Lute player I startet with some old music from John Dowland, England 1563 - 1626.
    I know its not made for Harp - I used two to create more space and make it a bit more plausible.

    Second was a movement from a Spanish suite for guitar from 1674 by Gaspar Sanz, Spain, 1640 - 1710:
    I used at first only harpsichord and found it too thin for this piece. So I added a little bit of harp to give the sound more
    body and some pizzicato strings to make the attack a little softer. The trick is to add enough to hear the difference
    without recognizing the added instrument.

    Since I liked this new virtual instrument I tried some Bach with it:

    Next was a try with one of the masters of harpsichord: G.F. Händel
    This time I left the harpsichord alone (ok - I think I used two of them) Warning: 7.5 MB!

    Now it was time to attack some orchestral settings. What about Albinonis Adagio for organ and strings?
    Albinoni, Tomaso Giovanni Venezia 1671 - 1750 Italy
    I came to the point where the solo violin takes of - and I gave up. I thing this part has to wait for Garys new solo strings.

    So lets go to one of the masters of string writing: Arcangelo Corelli, 1653 - 1713, Italy
    I didnt want to do the basso continuo with harpsichord to hear more of the strings - and some might disagree with the tempo used.

    Since we are on it: What about his Trio Sonata Opus 1.10 (4.6MB)
    If I find the time I will redo the flute with gpo and use the pedal on fast passages.

    Next I heard a demo of a new piano library in the main forum section playing a Chopin piano concerto. I wasnt really impressed and was wondering, what the GPO-Piano would sound like on that piece. What a surprise:

    So I wanted to go to the bottom of the possibilities of the gpo piano. I allways have problems when I hear Beethovens Piano Sonata Pathetique. The question is: whats the right tempo for this masterpiece? I found a excellent midi of it at kunstderfuge.com and spent some time every day for a week to answer this question for myself. Since this is a 15 MB file, maybe you dont want to know...

    The next mockup was driven by the passing away of Adam Burford. His passion was turn of the last century composers
    and I wanted to add something to his collection: The Night Winds by Chas.T.Griffes (1884-1920) from "Three Tone-Pictures for Piano" (1915).
    Given the circumstances I used GPO Harp - wich I like better on this piece then Piano anyhow.

    A week later I added Requiem Opus 48 by french composer Gabriel Fauré, 1845-1924, last movement (In Paradisum)

    Since GPO doesnt have voices (jet?), I had to be flexible in the arrangement. Since I never heard this piece, I dont know how far I'm off - for me it's ok.

    Thats it for now. Just made it bevor the chat of tonight...
    Hope you enjoy an you get some ideas out of this.

  2. #2
    Join Date
    Oct 2000
    Orcas Island

    Thumbs up Re: Testing GPO: Lots of demos


    This is an impressive list of classical work you have presented. Thanks for taking the time and trouble for sharing all these masterpieces.
    The trick of adding a little bit of harp and pizz is a good ideas. It gives a more softer tone. I performed the Fauré with a Choir last year and you did a faithful and excellent job with the organ. Nightwinds, although written for piano, does sound nice on the harp (I'll have to try playing it sometime). It was a nice tribute to Adam and the music of the period he loved.

    Thanks again for posting this wonderful treasury of classics.

    Gary Garritan

  3. #3

    Re: Testing GPO: Lots of demos


    What an excellent assortment of work here. Unfortunately, I do not have time to listen to them all right now, but I have saved them all to my computer and will get to them. (All except for the Bach Double Concerto, it won't allow me to save that one!)

    Thanks so much for sharing these. I look forward to listening to them and future Mockups!


  4. #4
    Senior Member
    Join Date
    Jan 2002
    UK- teeming with life....

    Re: Testing GPO: Lots of demos


    What a fantastic array and output. Some gorgeous pieces here, some new to me too. I think your use of GPO is superb...I particularly like Albinoni's Adagio.

    My only criticism would be that eleven courses is probably too much too stomach in one go. I think you should have served individual portions as eleven is too heavy going.

    It would take me absolutely for ever to have done what you have here. Think yourself lucky! (or talented)



  5. #5

    Re: Testing GPO: Lots of demos

    To start with the last:
    Frank: Take your time my friend. I didnt consider my tries worth to put up here because I didnt have the patience to go to the end of the possibilities of GPO and do a decent mastering etc. (I was testing and playing around). Since Gary thought you guys might be interestet I put the stuff together (and lucky you: not all of it LOL).
    Having a decent collection of midi files makes things much faster. The rest is growing into the field of sampling from the beginning and experience with many different libraries. Keep going - you will get faster with ervery try.

    Jonny: Sorry for the broken link to Bach - should work now.

    Gary: Thank you for the comfort on Fauré. It is allway easyer to rearrange a piece you never heard, but you might offend people who are used to the original setting. (Maybe this gives me the guts to attack Gloria - Et in terra pax from Vivaldi.)
    I know much more about old music then turn of last century. Looking for a contribution to Adam I fell over this piece and had the impression that for once it is not a requiem to press on the tearglands and celebrate the mourning, its more from the perspective of the one who is in peace now.

    You are too kind with your comment on Nightwinds: usually pros dont appreciate to hear unplayable stuff on there instrument (No offence to your capacities intended).


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