(Before I go off on this little rant, feel free to stop me at any point and tell me where exactly I can find, in the book, the relevant parts i am talking about. I would love to find out! And I would love to be able to apologise for this post and being a stupid panicking tit for missing it)
I just received this book, and just to be clear, I have not delved that deep yet. However, I was ( and still am) very excited about what it would (will) teach me. I am still sure I will gain a lot out of this book, as there is still a excellent amount of information in there, and cant want until audio examples are available on the site.
But I am still disappointed, ( BUT I hope Ive missed something)
I dont want to knock the Paul Gilreath (or the other writers?) for what IS there which is, I stress, fantastic. The problem lies, at least for me and I presume other newbies, is what ISNT there.
The thing is, in a book of this magnitude I thought they would at least teach you how to use CC7 and CC11. I have skimmed through the book, trying to find some reference to it and I only found brief mentions. How can this be? --- This book is supposed to be for not only those that dont know much about orchestration, but are good with midi BUT also those that are apt at orchestration and want to know how to use their skills in the midi realm. As Mr Gilreath points out in the Introduction, MIDI Orchestration is hard because it means you also have to have competent knowledge of computers, samples and MIDI.
I assumed there would be a whole chapter on this, or at least a sub chapter or something. Its like they just missed it out or something. Isnt learning the CC7 and CC11, (well, especially Expression), one of the very basics and even part of basis of writing convincing orchestral lines? You dont need complicated orchestration to need to make use of MIDI Expression, which having listened to many a MIDI mockup, including TJ's and Maartens old stuff it also makes a big difference to what samples you are using. For example I listened to one of Maartens old pieces a long time ago and thought it was Miroslav strings, yet found out it was simply AO's string ensemble patch! And I thought it sounded good not just because of the orchestration either, thats the point.
If I am wrong, which I would love to be. If I have jumped before looking properly, which I would love to say I have, then please tell me where I can find this part in the book.
Part of me thinks I MUST be wrong, why wouldn't they include something as important as this? No no, I must have missed something. But I just cant find anything on it.
If I am right about this, and they really didnt include it, why the heck not? For someone who knows how to use these controls (like Maarten or TJ, say) I for one would pay a LOT of money for a properly written tutorial, audio examples would be a preferable addition.
And Im sure a lot of newbies would agree with me, right?