One note: in reality this is a very quiet movement. The brass and percussion are on break. The loudest marking in the score is a single forte note by the bass clarinet. I've cranked up the levels, so the rockers among us won't think I've posted a silent file. For a more realistic experience, grab the volume knob and turn it... down.
Lots of good things in this. Just a few points (I'm using the 1945 Suite edition):
I really don't like the ww solos; they're not really legato and sound rather sterile.
The run up to 153 should be 32nds, not 16ths
Bar before 156 I have different notes in the Bassoon solo
The strings at the end are not in any of my versions. Which version does this come from?
I found that the stereo imaging of the mix was quite weird. The (Westgate?) woodwinds and the violins are way panned too much to the left, and the woods are too much up front (add reverb and spill to the other channel).
I like the string programming. Especially the low strings sound great. The solo cello coming in sounded a little bright for an orchestral mix and panned too far to the right.
First, libs: You guys nailed it. Kirk Hunter Strings and Westgate Winds. Harp and celesta are from GPO. Ambience is GigaPulse medium hall.
A note about the strings. The sections are from the beta disc that Kirk sent me, being an enthusiastic Solo String user. The beta disc has all of the sections combined into the patches using close mics. So, when I play the viola part, I may have cellos and violins mixed in at different notes. Kirk made a lot of refinements between this and the release version, and made yet another update to the close mic set. So, this isn't truly representative of the full version of the Concert Strings.
The strings are almost 100% with mutes, and they're divisi. It was way cool to be able to use the smaller sections with mutes from Kirk's lib, knowing that all of the articulations and programming were available in that configuration. It gives a ghostly, yet broad harmony that often has the sound of voices.
I haven't purchased the lib yet, but it's at the top of my list for strings. It's just a money thing...
Daryl, I'm using the original 1914 version (Dover). The measure markings are different in my version. It starts on .
I purposefully used the non-vibrato patches for the woodwind solos. I like a dryer style for this kind of music, and the vibrato recorded in the lib was just too much. I need to do some programming, so I can add my own pitch bends and make them more lifelike. They've got lots of expression control, but need pitch work to bring them alive. Regarding legato, well, that's samples for you. I'm hoping that GS3.1's new iMIDI legato rule can help out.
I'll look closer at my runs. The first harp gliss was done quickly and is closer to the score. The second harp gliss is slower, and sounds better to me. The strings are 32nds - overlayed with viola triplet 16ths in the score. I'll look closer to see if I got the timing close to right. I'll take a fine tooth comb to the bassoon solo as well. With six flats in tenor clef, I'm just glad it's not a transposing instrument as well. You should have heard my first version, before I realized that the clarinets were in A, Bb and D!
Herman - Your comments are spot on. This mix was done with three GigaPulse instances in a single pass. I need to divide it up and give more care to the voice placement. I like the bright sound of the cello, but you're right that it doesn't blend properly. A touch of EQ and better placement will do it well.
Wow. When PaulR compares a piece to something from a classic film, you know you're on track.
I'll definitely try something else with the woodwinds. I've got GPO and the VSL patches from GS3 Orchestra that I can try, and maybe I should revisit the vibrato patches from Westgate. Here's where the Opus legato would come in handy. (Stravinsky didn't specify french or vienese oboe. )