We always hear the "you write for the samples" statement. In your opinion who does that leave out to dry? What kind of things are still very hard to achieve - will we have solutions? Sometimes it is frustrating, while writing (delivering) with samples, distancing yourself from the above phrase - when you would have preferred a phrase your samples couldn't give you.
I can think of many instances but for now i will contribute:
***Really fast woodwind/strings runs - IE Shostakovitch (smooth legato, staccatisimo) You throw one of those big scaly figures in front of a live player and they know what to do - they know you arrive at the top and the notes towards the bottom are less important. I guess this is the almighty "missing legato" that people are always searching for.
***Glissandi in the strings. Voice a chord and gliss it up an ocatve, or a fifth or harmonics at a fifth etc... Anyway to do this? ( I Do not own vienna)
***Natural sounding legato bowing in the strings
There are many others, I am just kind of getting sick of hearing block chordal string patterns, D Minor in general, percussion cover up schemes etc... They are great for certain situations but sometimes when one writes by hand and then must mockup what they wrote they run into problems when you cannot achieve what is written on the paper
If anyone could find any solutions to the above I would warmly receive them!
Feel free to chime in.