Sonic Reality

jmeredith · Post by **jmeredith** » Mon Jul 04, 2005 2:04 am

Hey Caleb

How about using "jmeredith" when you order?

THANKS Bud

Caleb · Post by **Caleb** » Mon Jul 04, 2005 2:26 am

Congrats, you are now the proud owner of 5 more ePointz.

Well that's done. I've signed my soul away for Miro something I've yearned for even more than SS2.

Now I'll be bitching for ages to hear fresh new demos all the time to help keep my sanity in check while I wait.

Squids, Squids, Squids! It's so exciting!
I'm so excited I'm in danger of dancing a jig at work!

Caleb

harmony gardens · Post by **harmony gardens** » Mon Jul 04, 2005 2:56 am

Hope you enjoy Philharmonik Caleb!! it's harmonygardens

LOL,, I spent too much time reading about all the great new features!! This sounds so great Squids!!

Rellik · Post by **Rellik** » Mon Jul 04, 2005 3:23 am

I really like the sound of what you're telling us, Squids!

The "Attack" macro sounds like a great tool - and "push" sounds fantastic, too!

Question: can "push" be mapped to some other controller, rather than just aftertouch? I have one of those controllers where mod-wheel/pitch-bend are the same little stick, so pitch-bend would be ideal (velocity -> "attack", mod-wheel -> crossfade to vibrato, pitch-bend -> "push" would be ideal for me - no big deal if it's not possible, as long as "push" can be assigned to anything non-aftertouch, because that's something I really want to use

)

I'm looking forward to the day that the final patch list is released

. I know all about what articulations are available from various sources, but I want to see how they're implemented inside the actual Philharmonik module. My ideal setup:

Code: Select all

> Philharmonik Strings
> Philharmonik Brass
   > Solo Trumpet
   > 3 Trumpets
   > Solo Trombone
   > 3 Trombones
     (presets begin here)
      > Legato
      > Staccato
      > Marcato
        (these are child presets)
         .Batman!!!!!
         .Squids' Crazy Trombones
         .Stately Waltz
         .etc etc etc...
      > Sul Ponticello
      > Tremolo
      > etc etc.....
   > Solo French Horn
   > 9 French Horns
   > etc etc....
> Philharmonik Percussion
> Philharmonik Choir

It's fun to speculate

isn't it?

Kim Lajoie · Post by **Kim Lajoie** » Mon Jul 04, 2005 3:48 am

Rellik wrote:Question: can "push" be mapped to some other controller, rather than just aftertouch? I have one of those controllers where mod-wheel/pitch-bend are the same little stick, so pitch-bend would be ideal (velocity -> "attack", mod-wheel -> crossfade to vibrato, pitch-bend -> "push" would be ideal for me - no big deal if it's not possible, as long as "push" can be assigned to anything non-aftertouch, because that's something I really want to use )

Depending on your host, you may be able to do this (and more!) by making use of advanced MIDI filtering and transformation. For example, I use Cubase SX, and I have (on many occasions) been able to do things like assign aftertouch to any ST2 parameter, by simply transforming aftertouch into a regular MIDI CC. Likewise, it's possible to transform any MIDI CC into aftertouch. Another common assignment is velocity-> any ST2 parameter, simply by programming SX to output a MIDI CC message for every note message (with the CC value taken from the velocity value of the note).

I'm fairly sure the major sequencers (Cubase, Logic, Sonar) have similar capabilities. If anyone here has Cubase SX and can't figure it out, I'd be happy to walk through the steps with them.

-Kim.

Squids · Post by **Squids** » Mon Jul 04, 2005 3:52 am

VAttack and Push macros can be controlled by any other midi CC (you can assign any midi continuous controller to the macros even in ST2). In fact, that would be controlling the controller but in a very EASY way (as opposed to something more complex to set up in a sampler). It's all set up for you and you just choose WHAT you want to control it with. You can just turn up the knob and leave it or you can have a modwheel or expression pedal or knob on a controller turn up and down the knob in the middle of your performance if you want to ADD the variance that these give to the sound based on your velocity and aftertouch. The key is that it was scaled for musical purposes that would suit orchestral instruments, not synths. This is a dedicated orchestra module where we are using an advanced ST2 engine from the future (even more than what is in ST2.1 actually).

Derek up North · Post by **Derek up North** » Mon Jul 04, 2005 6:59 am

Squids wrote:This is a dedicated orchestra module where we are using an advanced ST2 engine from the future

Bring the little green pills nurse, Squids has relapsed into thinking he's a time traveller

Mind you, in would explain how you know so much - you've been playing with this product for 50 years haven't you

Regards,

Derek.

telebunke · Post by **telebunke** » Mon Jul 04, 2005 9:55 am

Rellik wrote: http://www.ilio.com/miraslov/media/miro ... estral.mp3

That one REALLY sounds wonderful, one must be a hell of a sound programmer to get this expressive and beautiful touch.
Would't it be cool if SR shared project files of demos with us? OK, it's gonna be for one sequencer only, I suppose. So if it's Cubase, users of Sonar would have nothing. But maybe different demo makers use different sequencers anyway and there's gonna be something for almost anybody?

tele

Squids · Post by **Squids** » Mon Jul 04, 2005 5:37 pm

I will make some project files specifically for sharing/demoing. These were done quick and dirty so we could have some new audio demos to show. It's hard to do orhestral demos because there are so many aspects of the orchestra and so many different contexts and styles that you only get a part of what it would sound like in your hands. But, each one is better than having nothing. I am going to do one with piano, choirs, some solo inst and we'll see what I can come up with. I could use some help from any really good classical players who are also good at doing demos though.

vic_france · Post by **vic_france** » Mon Jul 04, 2005 8:46 pm

telebunke wrote:Would't it be cool if SR shared project files of demos with us? OK, it's gonna be for one sequencer only, I suppose. So if it's Cubase, users of Sonar would have nothing. But maybe different demo makers use different sequencers anyway and there's gonna be something for almost anybody?

Well, I'd imagine that all that would be needed would be a standard MIDI file (or 2/several if more than 16 channels and more than one instance of Philharmonik were used), plus 1 combi preset per instance of the plugin, plus a "join the dots" ReadMe file.

(Squids, am I correct in thinking that any edits that are made to an individual part, including MIDI learn assignments, get saved with the combi preset... i.e. no need to save the individual presets as well? [on ST2, I do always save any individually-edited presets anyways, so I don't know what would happen if I didn't] Even in the hypothetical case where maybe an edited preset requires Stretch to be calculated for the first time? If not, I think it would soon become a little cumbersome to have to install loads of inividual files in order to exchange projects.)

telebunke · Post by **telebunke** » Mon Jul 04, 2005 9:15 pm

The idea with 1 or 2 MIDI files plus a combi preset is nice, although it means that Host automation may not be used. That might not be in the direct interest of the demo song writer - he would like to work the way he wants freely for not getting his compositional flow interrupted.

tele

pricer · Post by **pricer** » Mon Jul 04, 2005 9:17 pm

but given the range of hosts and issues dealing with incompatibility, i think it'll be the best road to take. How about a test run?

nexussynth · Post by **nexussynth** » Mon Jul 04, 2005 9:21 pm

Rellik wrote: ..how clear the marcato sounds are. If I have a normal marcato patch, that will allow me to have a note that attacks INSTANTLY and then sustains indefinitely without breaking realism? That's really my whole reason for wanting an orchestral libary - I've had it with trying to mess with the timing and automation so that the attack comes in when it's supposed to. I just want to write a sequence and have it played back accurately and realistically, no matter how fast (up to a point) and no matter how long each note of the sequence sustains.

What makes bowing sound convincing particularily short bow, detache, spiccato and marcato etc, is when there is variation for each note. This can be sample switching or done with programming. Another thing is to have alternate down-up bowing. QLSO does this with separate samples and a clever 'round robin' switching technique in Kontakt. It lends incredible realism.

Barring any such separate sampled bows, one can do it quite well with careful programming. GPO does it this way and I used to always re-program my synths and samplers to mimic this.

I don't know what method Philharmonik uses but it sounds good to me!

progfusion74 · Post by **progfusion74** » Mon Jul 04, 2005 9:38 pm

Back in town for a few days. Head out on the road again next week. Will come back and pre-order.

telebunke · Post by **telebunke** » Mon Jul 04, 2005 9:39 pm

pricer wrote:but given the range of hosts and issues dealing with incompatibility, i think it'll be the best road to take. How about a test run?

As a test you could use any song with ST2XL sounds only. Export the MIDI and the ST2 combi and put it on the web for people to load down. That's it. I haven't got a ST2 tune to offer, I'm just fooling around with the sounds so far.

Haven'
t become tired of it after the 10 days that I got it - so many sounds to explore in ST2/SS2.

tele

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