Hello ,folks , I want to thank Gary for answering my retorical , seating question , I work hard for the money so I always have a question
Pitifull ain`t I ?Now about the Brass , I don`t expect everything to be free
( it would be nice if new sounds were given to us ) however I who knopws the cost of hireing a bunch of guys from my opera pit , can live with buying upgrades or so called new libraries.I will have to have the strings , with all the glissando features , but guess what I still need Brass , glissandos , and brass attacks , The opera I am writting opens up ( how can I say it politely ...hmm I can`t )balls out The brass , well they hold their own but they don`t come in ff and go fff and pull back to ff with Verve !
Now it will be a couple of years till I produce a performance in the Moldovian Opera theator ( a famous company that tours England 9 months a year )
But the balet begins work on my opening act right away ( I just talked yesterday ~via telefon.) thats where I have BRASS questions ... again
Well since there is no reply , I have saved myself from defending my needs for more agressive brass , and glissando , but also I have figured out alot of my needs for the power , can be done in my sequencer , as I am well into the thick of this production , I have seated everybody , and now am tweeking their vloume dynamic, acording to which instrument is show off thier best qualities at any given moment in the passage , I am coloring for tone and power.ok now how am I going to work in my guitar solos ?