Bazille Plays Bach - Gigue, from the D Minor Cello Suite

[harvon]

Many goodies in this piece of music. The patch is very complicated; Few people are able to do patches on this level I assume. I suspect that for best results, the patch needs be fine tuned to any new music piece whereby it is used

[KBSoundSmith]

Bazille Plays Bach - Gigue from the D Minor Cello Suite

Sorry to bump such an old thread, but this is wonderfully expressive playing (and I'm glad it's still online). So I have to ask: have you done anything similar since then?

I'd be interested in seeing the patches, even if they're not usable for playing, just for the insights into your sound design.

Oh wow, it's surprising to see this thread again. How did you come across it?

I'm glad you liked the recording. It was a lot of work, both in terms of musical interpretation and sound design. No, I have not done anything quite like this since. I've used what I learned to varying degrees for other things, but not for anything similar to this project.

As for insights into sound design, just briefly looking at the patch it's pretty hard for me to determine what's even happening I hate spaghetti wires -- but at the same time, I'm not sure I'd have been able to do what I did without them. I'm not necessarily opposed to sharing the patch, but perhaps I'll try to go through it first and try to get back into the mindset I was in then in order to be able to offer you something useful. The best I can say at the moment is that if someone thinks that they have been attentive to detail, odds are they have not actually been anywhere near as attentive to detail as they imagine.

[ahanysz]

Oh wow, it's surprising to see this thread again. How did you come across it?

Just browsing the list of old threads for any Zebra tips. But it's hard to go past Bach :-) (And the more I look around, the more I'm tempted to buy Bazille too... So far, I'm just tinkering with the demo version.)

...if someone thinks that they have been attentive to detail, odds are they have not actually been anywhere near as attentive to detail as they imagine.

Well, you can point attention to detail in more than one direction! So far, I've tended to keep my patches on the simple side, but put a lot of detail into automation and the overall shape of the work (with these results, if you're interested). But I'm relatively new to synths, coming from a classical piano background. It sounds like you've got a complementary approach. (Or maybe you're simply doing everything that I'm doing plus a lot more?)

[Artie Fichelle]

Very good.

Having myself published "Bach Reloaded" in 2005, which you can find on Itunes or Spotify, I know, what task it is. 
I made the big mistake, to play everything way to fast, maybe because I was 17 years younger. I think youre piece would even sound better, if it was slower.

[KBSoundSmith]

Very good.

Having myself published "Bach Reloaded" in 2005, which you can find on Itunes or Spotify, I know, what task it is. 
I made the big mistake, to play everything way to fast, maybe because I was 17 years younger. I think youre piece would even sound better, if it was slower.

Haha, this is something I've consistently heard from other classical musicians -- "As I've gotten older, [insert Bach work of choice] would sound great just a bit slower..."

If I have time to dig out the old project, maybe I'll try slowing it down and upload it again to see what others think.

[ahanysz]

Let me be a contrary voice :-) I'm old enough that I should have slowed down by now according to this theory, but actually I tend to play things faster these days. It's dance music. It should be lively. (Same for late Brahms, for what it's worth.) I don't like these "profound" interpretations that try to wring the maximum expression out of every note, and miss the forest for the trees.

Artie Fichelle does have a point though. For my taste, your version sounds a little breathless in places. But I think it's phrasing rather than absolute tempo. I'm happy that it's not metronomic, and sounds human and expressive. But sometimes the third beat of the bar feels like it's arrived a little too early, making the rhythm unstable. Also, with the descending leaps from the third beat of the bar, the top note tends to sound louder, weakening the sense of a downbeat, and undermining the dance rhythm. (Is this necessarily a bad thing, or is it a good form of creative licence? Maybe if you tweak other aspects of the phrasing, you can convince me of the latter!)

These are tiny points. I honestly did enjoy the performance as is, and I'm glad you shared it.