Michael Bublé, Andrea Bocelli, Jackie Evancho, Josh Groban, Seal I recommend this library to anybody getting into film scoring.” I go to their library first every time I create an orchestral template when I´m beginning each film I score. “Vienna Symphonic Library has been the center of my orchestral sample library for several years now. Men in Black, Good Will Hunting, Planet of the Apes, Spiderman, Batman Returns, Corpse Bride, Alice in Wonderland, Mars Attacks!,The Simpsons, Desparate Housewives, Oingo Boingo) “To have the magic of a full orchestra in breathtaking 3D sound at your fingertips is the best luxury someone like myself could hope for. “Since I’m working in Hollywood it requires a vast library and that’s why VSL is really useful.”ġ6-time Grammy Award winner, composer and producer of Chicago, Earth, Wind & Fire, Al Jarreau, Chaka Khan, Michael Jackson, Barbra Streisand, Natalie Cole, Whitney Houston, Céline Dion, Seal, Michael Bolton, Peter Cetera Or any other sample in addition to the normally used sustains (as I mentioned) that is long enough to do an overlap and thereby trigger legato.Harry Potter and the Deathly Hallows Part I & II, The Curious Case of Benjamin Button, Coco avant Chanel, The Queen, The King’s Speech, Carnage, Renoir That includes very different samples such as the example of a crescendo that goes from pp to ff and then is connected to an ff transition sample to an ff target note. This single transitional note can be used as a "target" note from any new separate sample. That is recorded - each and every one - separately (though they can be recorded in groups they all have to be handled in editing separately) and then dissected from the original note. Each note is connected to another note by a single legato or portamento transition. An extremely time-consuming and difficult process. The samples were all recorded with single legato transitions in each velocity layer. I assumed this is samples that are being talked about, and the "real" legato is not separately bowed closely connected notes, but rather single bow notes that are slid between by means of fingering changes not bow changes. In addition to that it also depends on if you are defining legato as sul or on one bow, or if it is separate bows that are still closely connected. Much Baroque or Classical music DOES use two note phrases in legato and any string section will tend to do that normally. Also, depending on the music it will be different. It depends on how loud or fast the music is - for example if it is very soft and light more legatos can be executed on one string. I never said they CANNOT do more than that. If you would read what I actually wrote it was string players TEND to do two note legato phrases.
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