I hope this posts correctly as I have been having trouble posting to a number of threads in the Listening Room - the comments just don't appear and I sometimes get a message about a security token ( whatever that is).
Anyway this is the first movement of the Palladio Suite by Karl Jenkins. I decided to try this in my continuing quest to master the complexities of GPO strings.
Any comments and suggestions for improvements would be gratefully accepted, for instance have I got too much bass - I'm not sure.
Hi, Albert - It's really nice to see you back here with more music for us to hear in the LR--Thanks!
Such a good piece of music, and along with Larry, I commend you on your MIDI realization of it. I enjoyed hearing the piece itself again, and your MP3 had a good energy which makes it a success.
Tech feedback: Larry and I are hearing the same slight problem with the triplets. Fast passages with strings can be tricky. I always need to experiment a bit whenever that sort of unnatural sound crops up, because the solution is always slightly different in each case. But the first thing to try is a momentary use of CC21 at a higher level so the samples take longer to die out. Then as soon as passage is over, bring CC21 back down to its default level of 50. The slightly longer duration of the notes will blur the triplets more, making them sound more natural.
You thought perhaps your bass was too loud. I'm not sure that's the case, but what Is out of balance is your mid-range is too soft. Is it the Violas playing the counter part I'm thinking of--maybe - Take a listen, you can hear the notes on the off-beat are too faint in proportion to the rest. That would be fixed by a combination of CC1 and velocity control.
Nice music to listen to and well done. As others already told you, play around with these controlers:
CC#20 portamento, be careful, don't set it too high. I limit it to 12-15.
CC#21 length of the samples. On very fast sequences this helps to make it sound distinctive, and use a higher value for slower triplets together with different velocities per note in that triplet. Somebody told me that the first note in the triplet always is a bit longer in practice and that the second note has more velocity, the third one comes a bit late with a softer velocity - to prepare for the next notes.
CC#22 intonation, use a low value and always before fast sequences, wether or not they are the same notes (and of course triplets).
CC#23 variations. I always set it before a sequence with triplets in a row, because in real life it is impossible to have exactly the same "bow stroke" for each note (the wrist bends a bit, the fingers held different, the bow is drifting towards the bridge).
PITCHBEND - the WHEEL - is most important. For solo instruments more than for ensembles. Use it when the velocity goes sky-high in the solo. You know, the pressure on the string alters the purity of the sound (I've been told).
Thanks for your kind comments and very helpful suggestions. I did use cc1, 21,22, and 23 throughout the piece to varying degrees, but what it looks like I did wrong, was keeping the value of cc21 low when the fast triplets were playing. This seemed the obvious thing for me to do, however, it seems that I made an incorrect assumption.
I will redo the piece taking account of you suggestions, and also look at the viola part.