Chamber Music - Ensemble - Do You Have Any Advice?

The world is full of pieces of s....t that pose to be much more than they are actually worth. My dad taught me that when you can do a favor for your neighbor, it is always good to do so; in life, there will always be someone who will be grateful to you...

Send me the scores by email. What instruments are they? If they aren't too unusual instruments, I have samples of an entire orchestra, including some unusual instruments like the harpsichord; I'll arrange them for you and goodnight to the 45 ensembles...

TheSimon wrote:

The world is full of a....s who pose to be much more than they are actually worth. My dad taught me that when you can do a favor for your neighbor, it is always good to do so; in life, there will always be someone who will be grateful to you...

Send me the scores by email. What instruments are they? If they aren't too strange instruments, I have samples of an entire orchestra, including some unusual instruments like the harpsichord; I'll arrange them for you and goodnight to the 45 ensembles...

Dovrei farti santo, e non scherzo, grazie, però come qualcuno già sa, qui al forum qualcuno mi conosce un pò, negli anni ho usato dei suoni campionati, della East West che conosci sicuramente, e ho già registrato da me 2 di questi pezzi, ma se riesco a mettere a posto un minimo la situazione che ho a casa spenderei volentieri quello che mi è stato chiesto per sentire con strumenti reali come vengono, un' esecuzione reale fa comprendere ancora meglio i pregi e i difetti di una composizione, anche se Alessandro Gozzo giustamente mi diceva che se già suona bene in midi ( come i pezzi di Bach e non solo )si sente.

I should canonize you, and I'm not joking, thank you; however, as some already know, here on the forum someone knows me a little bit. Over the years I have used sampled sounds from East West, which you surely know, and I have already recorded 2 of these pieces myself, but if I can manage to sort out my home situation at least a little, I would gladly spend what was asked of me to hear how they sound with real instruments; a real performance makes the merits and flaws of a composition even clearer, although Alessandro Gozzo rightly told me that if it already sounds good in MIDI (like Bach's pieces and not only those), it can be felt.

I imagine them with real instruments, but it will (obviously) never be the same thing; think about it, I have also decided (for 2 reasons, economic and practical) not to buy the sounds downloadable from the VSL website, which cost about 30/40 euros depending on the packages and are accessible, precisely because a minimum of satisfaction in dissatisfaction is needed.

To answer you: one piece "requires" 5 instruments: oboe (I used the sample of the VSL oboe d'amore, the most realistic of the samples I have), flute, 2 violins, and cello; another is a bit of a mess, because the way I imagine it would require an ensemble of at least 16/17 musicians; for example, I have seen some performances of Bach's orchestral suites, in which the ensembles vary.

Yes, the samples depend on how many years old they are. Lately, with strings, they have surpassed themselves. In particular, listen to the demos of LA Scoring Strings and Hollywood Strings from East West. For jazz winds (trumpet, trombone, and sax), the Chris Hein ones are excellent. And Quantum Leap Orchestra for the rest (flutes, Wagner tuba, etc.). Of course, live recordings, especially for instrumental ensembles, are always better, but as AleGozzo told you, if you know what you're doing, the result can be anything but unsatisfactory...

Once I listened to "LA Scoring Strings", definitely not bad; I made some messes that would interest you (I think), in 2005/2006 I re-recorded all the EastWest samples, I mapped them for Reason and saved 60 GB on the hard disk, but I lost quality because I recorded them at 22kHz and 16-bit, and I never used the player directly with software like Cubase, Logic etc., but with re-recorded sounds specifically.

If you want, I'll send you the link to the piece so you can hear how it turned out; listen to how certain sounds are muddy, but I did a minimum amount of work on top

to make the result at least decent, but I'm obsessed with the oboe d'amore.

I'll send you the link privately.

My goodness !! A huge job !!! Eheheh and what about the stamps in relation to the dynamics?

TheSimon wrote:

My goodness !! A huge job !!! Eheheh and what about the stamps in relation to the dynamics ?

I let myself go a bit there, in the sense that this is an aspect that greatly conditions the sound of an instrument,

this is one of the crucial points that I left unfinished; I "programmed" a midi file in proportion to the type of sound, you know

that those from East West have names that often have nothing to do with the real articulations, but I based it on

their duration; the file started automatically and I recorded with Soundforge, then I learned to use this software to cut the sound

in a precise way at the beginning and end of the sound, then I mapped them, but the dynamics at that point were up to Reason,

but the point I focused on most is the agogics; a specific point in a piece where there is a slowing down can be fundamental,

but I am a bit conflicted about this because, as you have seen yourself, I often leave freedom to the performer, partly because I am truly afraid

of constraining a piece in execution speed which, in a certain sense, would make me "experience" it as frozen, and instead in

my (a bit of an obsession) precision, I need freedom, and in performance this is a fundamental aspect, even if it is not always

advisable.

Obviously "Chamber music" and not ca camere, I'm doing fine from what I can see.