Thanks for listening, David.
AGITATED is a piece that I feel has more potential, but it might result in being more agitated.... I was thinking of Bach polyphony as I wrote this. How to make more out of the bassoon line in all three parts. Maybe I'll return to it next year....
Hi, Gary - This is EXactly what I've been hoping you would do --Post all of this in the new versions you've been working on.
It's a landscape of question marks that I feel myself in while listening - and that's a very interesting experience. There's a mental energy driving and guiding these pieces which asserts itself with subtlty and wit. I love the impressions I've had while listening.
And these are Definitely your best sounding recordings to date. YAAaah! - there is audible reverb, panning, --it's all sounding better than ever.
I see there's mention of the Bassoon sound, and you've said you're aware there's something going on. Michel described it perfectly, that the attacks of the Bassoon's notes seem to be missing. What causes that in the Garritan libraries is very low velocity values. And that's very useful for soft notes - so that low velocity and low cc1 values are often coinciding.
But if you have the velocities low throughout an entire piece - it's not natural. I feel it's safe to say that the majority of velocities need to be over 70 to have a more life-like attack. I'm rather sure if you looked in a MIDI controller window, you'd see your Bassoon velocities must be down there in the 10 to 30 range.
Check that out--Meanwhile, I really enjoyed this Gary!
Hey gary. The instrument combination is just great. I listened to all 3 offerings and they are all very nice. I particularly liked agitated, although I liked all 3. It did seem that the volume was a little low in just a few spots. It did not strike me as a dynamic interpretation, but like the volume was just turned down to low a those few spots. Anyway, I think this is an admirable effort. Thanks for posting.
After getting the auto-mail re: your reply to me on this thread, I went to the Finale site to see if I could get some information for you.
BUt by the time I've gotten here, it looks like you've already made some progress, yes? Because you said, "...I just went back; made adjustments, and I think the problem was placing dynamics at a too low level. With a louder dynamic marking, the parts come out better..."
Great - Sounds like you're happier after doing some dynamics editing.. - I have never used Finale, and don't use notation programs at all, so I don't the specifics of how the programs are laid out.
The Finale site says that MIDI editing is part of the program, but as before when I've looked there, I couldn't find any specifics of how the editor works, what it looks like, or where it's found inside the program.
But dynamics editing is one thing, editing the velocities is another - As said before, when velocities of notes are low, that triggers the soft attacks appropriate for softly played notes. The more aggressively music is played, the faster and sharper the attack - and higher velocity values create that effect.
When playing a MIDI keyboard and using a program like Sonar, it's just a matter of playing the music - the velocities happen rather naturally with any kind of expressive playing. When things don't turn out quite right, each note's velocity value can be edited in the Piano Roll View with Velocity chosen in the menu. -- I thought I saw someone say before that Finale actually has a Piano Roll View for MIDI editing--? ---SOrry, it's still a bit of a mystery to me, how Finale is laid out.
Quick typed demo of a phrase with no velocity dynamics:
da da da da da da
Those triplets with velocity dynamics:
DA da da - DA da da
The first example is dull and robotic - The second example is musical.
Ya just GOTta do velocity work in your files to make the most out of the instruments you're using. On a routine basis I look at the velocities in my tracks, and if two velocities are idential for two notes that follow each other, I always change one so there's at least a subtle difference between the two.