Replies

  • I'm looking forward to hearing the entire work.

    Will this segue into the next scene, or is there a break? (Just curious)

    I'm slowly working my way through the other scenes and interludes you have so far and they are all very good.
  • Hey Tim,

    Thanks for listening.  It all segues (until the end of each act, of course).  Unfortunately, the early stuff is in more sketch mode (also different sound library), but I'm working on it...  Who knew writing an opera would take so long??

    John

    Tim Marko said:

    I'm looking forward to hearing the entire work.

    Will this segue into the next scene, or is there a break? (Just curious)

    I'm slowly working my way through the other scenes and interludes you have so far and they are all very good.
    2nd Interlude from My Opera
    Hi All, This is a short orchestral interlude between two scenes in Act 1 of my opera, Everything Is Possible. John
  • hi John,

    Around 1 min or so, did you want a non legato in the vlns? Also at the end, their is an odd non legato in the strings that does not sound right! If not, then you might need to alter your approach a little. I also feel that the winds and horns are a wee bit too close and as a result, a little control of the mix is lost at around 1.30 in the oboe cresc. which comes acroos out of perspective. Does that make sense to your ears?

    If you are using a DAW, I'd recommend you utilise the release slider at the ends of phrases, especially if you are not using a glue reverb. This means that the acoustics of the room are not lost when you stop a phrase. If you do use volume automation (cc7) or expression (cc11), it is better to then have a glue because some semblance of room (the glue) remains at the end of the fade and helps the line end a little more naturally.  At present, it sounds like the room cuts out at the end of some lines, which might be contributing to the rather synthy feel in places. Does any of that chime with you?


    John Driscoll said:

    Thanks for listening, Mike, and calling out the automation.  Did you mean the string chords near the end or a different part?  I did some volume automation for those string chords, in the interest of realism, but realize I made the opposite effect.

    BTW, no added reverb here.  Just Spitfire close and tree mics!

    2nd Interlude from My Opera
    Hi All, This is a short orchestral interlude between two scenes in Act 1 of my opera, Everything Is Possible. John
  • Hi Mike,

    Totally agree on the comments and appreciate the feedback.  At 1:00, the violins are con sordino, but there is no Legato CS articulation in the library, so I may have to play a bit more with it to get it right.  Agree on the other points--especially the oboe sticking out, which I think might also be helped with some EQ (the bass and horns seem to be bunching up at that point, which doesn't help).  I'm still controlling all the MIDI data through Finale, so glue may be the way to go.  Thanks!

  • Hi John,

    It might be a good idea to rebalance or even re-score before any eq work.

    I'm not so sure that glue will help with the non legato, but you must have a con sord 'Long' articulation which is in effect the same thing as legato except that it is a poly instrument and has no legato transitions.

    Allow me to ask a potentially impertinent question here, as I do not use NS to programme samples. You are using cc1 as the main controller for your dynamics right? That combined with release and perhaps a little cc11 now and again should give you a large faux dynamic range, enough to realise convincing phrasing, swells and dims etc. and regarding the release, is it possible to create a command in Finale to programme its usage?

    Re. the mic configuration, I personally found it a little too dry (close) but it is obviously to taste. I'm pretty sure you will have experimented with different mic settings and if you use a glue, the close mics can be handy to help blending with other samples, otherwise for me, I prefer a slightly wetter environment which I think allows a little more perspective for the sections when tweaked. Have you tried using SFA in combination with VSL yet? ( Am I correct in thinking that you have VSL ?). I spend a lot of time tinkering with MIR pro (convolution) MIRacle (algorithmic), the Air sound and sometimes a different glue to MIRacle to see what can be achieved. 

    John Driscoll said:

    Hi Mike,

    Totally agree on the comments and appreciate the feedback.  At 1:00, the violins are con sordino, but there is no Legato CS articulation in the library, so I may have to play a bit more with it to get it right.  Agree on the other points--especially the oboe sticking out, which I think might also be helped with some EQ (the bass and horns seem to be bunching up at that point, which doesn't help).  I'm still controlling all the MIDI data through Finale, so glue may be the way to go.  Thanks!

    2nd Interlude from My Opera
    Hi All, This is a short orchestral interlude between two scenes in Act 1 of my opera, Everything Is Possible. John
  • Yes, it's a long CS articulation that I'm using currently.  By "playing" there, I meant adding slurs (bowing indications, really) which result in different playback through Finale.  Won't be perfectly legato without a specific articulation, but gives more of the phrasing instead of note-note-note-note.  I usually put those in as it is, but realized I had forgotten for that passage.

    Yes, I use CC#1 as well as velocity as the primary dynamic variables tied to the notation symbols (pp, p, mf, etc.).  The problem is more than Finale is a little clunky when it comes to managing swells/diminuendo (or at least I can't get it to interpret cresc/decresc markings correctly), so I tend to keep those in my head or fudge for now.  This is especially a problem for horns, it seems.  One solution I have done before is to create a set of intermediate dynamics (p, p+, p++, etc.) but I'm not sure it's worth it for me to spend so much time fine-tuning the mock-up until I have finalized the score.

    I don't have VSL/MIR, but I am going to have to add in reverb to help blend the voice libraries with Spitfire.  Thanks again for the feedback.  Two steps forward, one step back!  

  • time for a DAW John...:-D

  • Mike, I use a DAW.  I have all my samples running through Cubase!

  • OH..I see...duurrrr..my understanding of how you work is a bit off because you use NS too. Given the great music you are writing, it must surely be worth extra programming in the DAW and utilising all the automation that helps give the best results. Can you do that? Could you tell me how the midi flows as I am curious.

  • I'm sure I'll get there eventually.  At least for the opera, so much tweaking feels like a futile effort at realism, if I still have robot "singers" aahing and oohing all over it

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