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Welcome to the artissimo.gr pages of Blog ! 
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English Language : Music Technology : Blog Sunday 7 December 2008 : Notes within theoretical range but missing from the library Special Edition of the Vienna Symphonic Library |
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About music software When I began to explore the - recently bought - Special Edition of the Vienna Symphonic Library noticed that along with one (1!) loud note of the clarinet who has disturbing murmur (which is cut, however, not difficult to filter), were missing some notes in various instruments, typically few and difficult to perform, very high and very rarely low, usually in solo instruments but not only (for example the sound of 4 horns together missing several notes and low and high). A classic example is the extent of the oboe: while the lowest A exists, contrary to the theory, they are missing the 4 highest notes: F sharp, G, G sharp, A. Also, depending on the method of playing different instruments, sometimes they are missing slightly different notes at a time (!). From the little experience I have in clarinet know that these very high notes, near to the limits of the range, are difficult and they want fingering of great attention to execute. But this is not a sufficient excuse for a product that has a significant cost. Also in the forum of the company itself Vienna Symphonic Library I read as justification for the lack of such notes the fact that in the recording sessions there was a specific timetable and budget and also that these were held sometimes and with different musicians, so the notes covered were slightly different at times. I find all this rational.  Also, someone will think: OK, then used the pitch bend and raise the tone as you need if you need these extreme notes into the composition. But the problem is that within the application that reproduce the samples, the boundaries of the pitch bend is strictly prescribed in a whole tone (!). Thus, one can "replace" lost notes in the space of one whole tone. So, in the case of the oboe they are "missing" the last two notes. Here is the problem that in order for someone to "reach" to play the higher notes of oboe in theory he must use the pitch shift of the recording and various other solutions no practical at all. One explanation given by someone (simple user of the library) for this fact at the same forum, says that if you allow the pitch bend on a large scale, the sound will completely deformed and in a non-professional quality, contrary to what the company wants. This is a grain of truth, but for some half-tones usually algorithms of pitch bend keep on producing good results. But how one can finally use all these musical notes in any of these songs without resulting in extreme solutions ? At the moment I have not thought of a convincing solution to the problem. Also, I do not know whether software Vienna Ensemble allows for some better solutions. Attention! All of the text comes from a Google Translation of the original Greek text, improved on only basically. |
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