composers using soundfonts read this
PEACHESANDSHIELA
mostly fresh samples. It's quite an improvement over the available orchestral
fonts. The final version is almost ready and if you're interested I will post
the link to the download site when it's up.
(musicware just means that I would like to hear what you've done with it)
Terry Dwyer
Terry Dwyer
t...@quorndon.com
"PEACHESANDSHIELA" <peachesa...@aol.comdontmail> wrote in message
news:20021223231312...@mb-ml.aol.com...
John C.
John
"PEACHESANDSHIELA" <peachesa...@aol.comdontmail> wrote in message
news:20021223231312...@mb-ml.aol.com...
Ahmed Mahi Durgun
interested
Jan Willem
This is a reply to peachesa...@aol.comdontmail
(PEACHESANDSHIELA), who on 24 Dec 2002 04:13:12 GMT wrote the
following:
I'm holding my breath...
--
Jan Willem from Odijk
My real e-mail is JW dot VAN dot DORMOLEN at HCCNET dot NetherLands.
And remember:
I used to have a superiority complex, but I've seen a shrink, and now I'm the most amiable, loveable person in town.
Colin Broom
news:20021223231312...@mb-ml.aol.com...
using
> mostly fresh samples. It's quite an improvement over the available
orchestral
> fonts. The final version is almost ready and if you're interested I will
post
> the link to the download site when it's up.
I'm definitely interested.
Colin Broom.
Butterfly Bill
> I have been working on a musicware orchestral font for some time,
> using
> mostly fresh samples. It's quite an improvement over the available
> orchestral fonts. The final version is almost ready and if you're
> interested I will post the link to the download site when it's up.
>
Do you have a tutti string font that doesn't go wa-wa-wa in volume? Do you
have a trombone that sounds like Tommy Dorsey rather than marching band
blast? Do you have a french horn that doesn't constantly play Wagnerian
fff? Do you have a tuba that has a good euphonium sound in the top end,
and a good steady pitch that doesn't dip in the beginning on the bottom?
Do you have a flute without such a long and breathy attack that I have to
advance the start times to get it in rhythm with the rest of the band? Do
you have contrabassoon, alto and bass clarinet, flugel horn, alto horn,
alto flute? If you have any of these I'm interested.
-Butterfly Bill
Sadiel Cuentas
I´m interested too.
Well, now that Soundfonts are on discussion, you might want to visit this site:
That page hosts hundreds of free good quality Sounfonts.
Merry Christmas
Sadiel
Charles-Emmanuel
wrote:
Nah, please, enough shitty soundfonts already plus it sounds like vriezed vomit
in pappy's beards, pwak.
Lookingglass
available soundfonts that are in use... while some soundfonts are good, most
are mediocre... I for one look forward to hearing a new one... HAPPY
HOLIDAYS!
--
Peace...Dave www.Shemakhan.com
"Why, sometimes I've believed as many as six impossible things before
breakfast."
Lewis Carroll
"Charles-Emmanuel" <char...@yahoo.com> wrote in message
news:fiai0vctlmrqfb2hd...@4ax.com...
PEACHESANDSHIELA
I have first violins, second violins, violas, celli and contrabass with the
following articulations
heavy marcato
marcato
slur
legato a
legato b
hard sfz
light sfz
marcato con sordino
slur con sordino
legato con sordino
unmeasured tremelo legato
unmeasured tremelo with attack
spiccato
pizz fff through ppp
The amount of clever resampling and editing required to achieve these was
nothing to sneeze at. The results are far more realistic than any other string
soundfonts out there (I havent tried the new emu string fonts, but the demo
mp3's sound like typical synthy crap). I can't help but assume the people
programming "proffesional" string samples have absolutely no experience with
how a string section works or sounds.
>Do you
>have a trombone that sounds like Tommy Dorsey rather than marching band
>blast?
I have 2 trombones each with these articulations:
ff marcato
ff slur
ff sfz
p marcato
p slur
p sfz
>Do you have a french horn that doesn't constantly play Wagnerian
>fff?
the horns are definetely a highlight of this font. They have the
following:
ff a2 marcato
ff a2 slur
ff a2 expressive
ff a2 sfz
ff solo with all of the above
p with all of the above, a2 and solo.
also 3 stopped/brassy (buiche cuivre) articulations
>Do you have a tuba that has a good euphonium sound in the top end,
I don't have any good euphonium samples sorry. If anyone here plays
euphonium and would care to contribute that would be great. I will do the
programming if someone can play a fairly clean cromatic scale on their
instrument and get this to me. As for tuba, I have pp articulations and f
articulations. The top end of the pp samples could work for a tenor tuba maybe,
but the f samples wont cut it.
>Do you have a flute without such a long and breathy attack that I have to
>advance the start times to get it in rhythm with the rest of the band?
All the winds are new samples without the white noise crap at the start.
However, while the clarinet is superb for expressive work, I don't have any
clarinet samples with a staccato attack. If anyone plays clarinet and could
play a scale from both ends of the range on their instrument with staccato
attacks and get that to me I will do the programming.
>Do
>you have contrabassoon
It's a slightly tweaked version of the proteus 2 contrabasson, which is
sufficient for most arrangements.
>alto and bass clarinet
I have bass clarinet, but it wouldnt be especially hard to program a faux
"alto clarinet" from the samples I have.
>flugel horn
one of the trumpets uses a flugel for its p articulations.
>alto horn
whats an alto horn?
>alto flute?
I have some samples but I ran out of memory before I could include this.
The English horn is new and may be quite a bit more useful than the
existing fonts (which dont even sound like an english horn at all)
There is also a full complement of percussion including rolls. The timpani
rolls are very useful.
Understand, what makes this library especially different is that it links
filter cutoff to volume, so when you have a big brass crescendo it actually
sounds like one for once. In fact except for some percussion sounds, this
library doesn't even support velocity information. Most orchestral instruments
don't use velocity in the piano sense, they use continuos dynamics. The only
exceptions are certain playing techniqes such as col legno or succesions of
fast staccato attacks.
Butterfly Bill
>whats an alto horn?
A member of the cornet family, in Eb, between the Bb cornet and the
baritone. Looks like a shrunken baritone. Played in American marching
bands by people who don't want to get their French horns all dented up on
the football field (and regarded by them as a lousy substitute), but also
played in British brass bands by people who regard it as an instrument
capable of musicianly expression.
Sometimes colloquially called a "peck horn", because in marches it plays
the afterbeats, as in (oom) peck (oom) peck.
> Understand, what makes this library especially different is that it
> links filter cutoff to volume, so when you have a big brass crescendo
> it actually sounds like one for once. In fact except for some
> percussion sounds, this library doesn't even support velocity
> information. Most orchestral instruments don't use velocity in the
> piano sense, they use continuos dynamics. The only exceptions are
> certain playing techniqes such as col legno or succesions of fast
> staccato attacks
You got us all salivating. When are you gonna have it and where?
-Butterfly Bill
Mark McDowell
peachesa...@aol.comdontmail says...
Mark
PEACHESANDSHIELA
>
>-Butterfly Bill
I'm going to do a final fine-tuning of the balances today. I've gone
pretty far out of my way with regards to balance... for example the brass at
127 volume are far louder than the other instruments. It's amazing how small
changes like this make midi scoring so much easier and closer to the actual
score dynamics. With your average synth a trumpet ends up being the same volume
as a celesta or harp... really annoying!
Good things:
these instruments are chromatically sampled:
flute
oboe
clarinet
bassoon (this basson rips!)
english horn
horns
This is a good thing because you can actually hold a 3 note flute chord and
not have it sound like ass. Using these horns for classic middle harmony parts
is uncannily realistic.
the strings are sampled at every minor third or less in some cases.
For the rest of the brass, using adjacent instruments is the way to go.
For example there are 2 trumpets and 2 trombones. the idea here is to put one
trumpet or bone on the outer notes of a triad and the other on the inner note.
the gets a different sample on to each note which is considerably more
realistic. Of course being lazy and just playing a chord on one patch still
sounds ok.
I made sure the brass unisons sound good. layering the 2 trumpets or 2
bones sounds very good. This can pass for a2 or a3. The horn a2 can also pass
for anything up to a6. Sometimes I use one of the bones for a faux extra horn
doubling.
I need to warn you guys right now that this library requires either the
unnoficial APSLIVE! drivers for the sblive!, or the EMU Audio Production
Studio. Regular SBlive drivers don't support dynamic filter cutoff. You could
still use it with some editing but I really programmed it to take advantage of
this. It MAY work with the Audigy, presuming Creative ever got off their asses
and fixed their glitched drivers.
Personally, I dont even bother with samples if my crescendos dont start out
muted and get brighter with volume increase. it just sounds stupid. When a soft
string passage has the same strident tone as a full fff... nope, not worth the
time and effort to me.
Gerhard Hölscher
> I have been working on a musicware orchestral font for some time, using
> mostly fresh samples. It's quite an improvement over the available orchestral
> fonts.
I'm interested.
Though I don't know exactly how to use them im Mac OS X (I read about
this but had no time and forgot it again), the subject is very
interesting to me.
Gerhard
--
"Zwei Hälften sind immer genau gleich groß, aber die größere Hälfte
von euch wird das nie kapieren." Originalzitat eines
Mathematik-Lehrers an einem gutsituiertem Gymnasium.
Giacomo
> filter cutoff to volume, so when you have a big brass crescendo it actually
> sounds like one for once. In fact except for some percussion sounds, this
> library doesn't even support velocity information. Most orchestral instruments
> don't use velocity in the piano sense, they use continuos dynamics. The only
> exceptions are certain playing techniqes such as col legno or succesions of
> fast staccato attacks.
I am quite intrigued, and would very much like to sample your samples ;)
Jan Willem
This is a reply to peachesa...@aol.comdontmail
following:
> I need to warn you guys right now that this library requires either the
>unnoficial APSLIVE! drivers for the sblive!, or the EMU Audio Production
>Studio. Regular SBlive drivers don't support dynamic filter cutoff. You could
>still use it with some editing but I really programmed it to take advantage of
>this. It MAY work with the Audigy, presuming Creative ever got off their asses
>and fixed their glitched drivers.
And where would I find these APSLive! drivers? Do they provide all the
features of the official drivers? Any other differences people need to
be aware of?
--
Jan Willem from Odijk
My real e-mail is JW dot VAN dot DORMOLEN at HCCNET dot NetherLands.
And remember:
If one synchronized swimmer drowns, do the rest have to drown too?
Andy
Please also tell where to get the APSLIVE drivers that are needed
My email address: andy at xcept dot com
Thanks,
Andy Grouwstra
"PEACHESANDSHIELA" <peachesa...@aol.comdontmail> wrote in message
news:20021223231312...@mb-ml.aol.com...
---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.427 / Virus Database: 240 - Release Date: 12/6/02
Butterfly Bill
> I need to warn you guys right now that this library requires either
> the
> unnoficial APSLIVE! drivers for the sblive!, or the EMU Audio
> Production Studio. Regular SBlive drivers don't support dynamic filter
> cutoff. You could still use it with some editing but I really
> programmed it to take advantage of this. It MAY work with the Audigy,
> presuming Creative ever got off their asses and fixed their glitched
> drivers.
>
What kind of format or what have you are you gonna have these things in?
Is there any way they can be put into a regular Vienna .sf2 file. I'm sure
it would be no problem if you could and you could somehow get that to me.
(I have an Audigy.)
-Butterfly Bill
PEACHESANDSHIELA
>
>-Butterfly Bill
Bill, they are in .sf2 format. The Audigy DOES support dynamic filter
cutoff, it's just that the drivers for the Audigy have been a joke from the
start. I believe that some new drivers have been released that fix the glitched
looping problem. There may still be random dropouts for no reason with the
Audigy. If you like you could test it with the Audigy and latest drivers for
us. Check this link to read up on the Audigy issues and solutions:
http://oui.com.br/nando/essays/t03audigy01.htm
PEACHESANDSHIELA
The official page was down for some time, I don't know if it is back up
yet. It was something like come.to/sblive. It can be found other places if you
search. I'll post a link when I get a chance to search myself. If worse comes
to worst, I'll just put them on my fonts page for download.
>Do they provide all the
>features of the official drivers? Any other differences people need to
>be aware of?
They are actually more proffesional and full-featured. Creative was just
too lazy to release their "unified drivers" since they only care about the
gamer market.
Some important facts;
The Sblive! has a maximum soundfont memory of 32 MB (a hardware
limitation), but creative is too shady to tell you this and their junky drivers
would have you believe you can load in more than that. Well, since there is no
dynamic cacheing (there is a greyed out menu item for that but it was never
implemented) you will get dropouts once youve played 32MB worth of sample data.
The APS drivers dont fuck with you. If you load more than 32MB worth of samples
it will alert you.
The downside of this is that I had to do some selective downsampling and
whatnot to get the font into 32MB. naturally this meant chopping out the more
obscure instruments (alto flute, some percussion, etc) shortening loops on the
strings etc. The upside is that it still sounds great.
The APS drivers have much more extensive and better effects, including a
more realistic reverb. None of that consumer toolbar crap center that creative
puts on your desktop is to be found in the APS drivers. Thats because the APS
was intended as a "studio in a box" so the drivers and interface are not geared
toward Doom junkies. Creative was supposed to release these drivers for the
Sblive! since the hardware is the same but they never did, because they dont
give a fuck about support after the sale. So someone took it upon themselves to
adapt the drivers.
Downside, I dont think the APSLIVE! drivers support anything besides
windoze 98/95 but I havent tested that so Im not sure.
You could use the font with the regular creative drivers, but it wont
sound half as good. And due to some APS-specific programming you might get
fully closed filtes by default on some patches which means you would have to
use Vienna to change that.
Now, the Audigy is theoretically the answer to all these problems, and I
could have released the 168 MB version for the Audigy. Except that creative
doesnt support the audigy aside from sales and its drivers are useless for
soundfont work. But the newest Audigy drivers may work if you twiddle them a
bit.
Sadiel Cuentas
> >And where would I find these APSLive! drivers?
>
There is a nice program which renders midi files to wav files using
soundfonts banks. It愀 called Audio Compositor, and can be downloaded
from here:
http://home.att.net/~audiocompositor/
Depending of your computer愀 speed, Audio Compositor might be able to
render the files in real time. It has unlimited poliphony, which is
great for orchestral music, and you won愒 be in the need of reducing
your soundfonts banks at all. You won愒 need to mess with audiocards
drivers either.
Greetings
Sadiel
mike
news:baa76a04.02122...@posting.google.com:
yes, this is a great program with a lot of control over the texture of the
final wav. i bang my sibelius files into midi and then run them through
AC... well worth the cost... well, worth looking for the key generator
anyway.
Giacomo
I must say I would like the full version..... in my experience the
longer the samples, the better the result... ah the limitations of
soundblaster.. blast them.. hehe
Joe Roberts
(re: Audio Compositor)
>
> yes, this is a great program with a lot of control
> over the texture of the final wav. i bang my sibelius
> files into midi and then run them through AC...
Have you found any way to use AC as the playback synth, directly out of
Sibelius? It doesn't look like that's possible.
Example: I use the Yamaha S-YXG100 software synth for playback out of
NoteWorthy Composer. That is, the NWC program outputs directly through the
Yamaha software, to the audio hardware and beyond ... The Yamaha appears
as an output option in the NWC setup.
Apparently not so with AC, at least as far as I've been able to discover.
If that's true, it's too bad. It would be great to go directly from the
notation software out through AC, with the appropriate soundfonts, and hear
the music as notated without having to dump to a MIDI file first.
Have you found any way to do that with Sibelius (or other notation
software)?
Many thanks,
Joe
Morpheus, Inc.
[snip]
> Have you found any way to do that with Sibelius (or other notation
> software)?
Had you be using a Mac, you'd be able to do that with Virtual Composer:
<http://www.virtualcomposer2000.com/>
You load your SoundFonts into the QuickTime Extensions Folder and then
you can use the new instruments from a regular Instrument Picker and
listen to the piece notated. Plus save to an AIFF, plus, plus....
> Many thanks,
>
> Joe
--
Ioannis
http://www.virtualcomposer2000.com/
____________________________________________
"You cannot go against Nature, because going
against Nature is part of Nature too".
PEACHESANDSHIELA
>> render the files in real time. It has unlimited poliphony, which is
>> great for orchestral music, and you won愒 be in the need of reducing
>> your soundfonts banks at all. You won愒 need to mess with audiocards
>> drivers either.
This sounds useful, but do you know if it supports all soundfont 2.1
format features such as dynamic filter cutoff?
PEACHESANDSHIELA
>longer the samples, the better the result... ah the limitations of
>soundblaster.. blast them.. hehe
In this case, the results are somewhat more clear sounding since the
percussion isnt downsampled and the loops are longer on the sustained
instruments.
mike
news:sRkP9.145176$qF3.10481@sccrnsc04:
> mike wrote:
>
> (re: Audio Compositor)
>>
>> yes, this is a great program with a lot of control
>> over the texture of the final wav. i bang my sibelius
>> files into midi and then run them through AC...
>
> Have you found any way to use AC as the playback synth, directly out
> of Sibelius? It doesn't look like that's possible.
no, i have to use the sibelius conversion to midi... i can't even get a
good sound recording from within sibelius... this is dr. matt's method,
but i always have sound problems in the final.
>
> Example: I use the Yamaha S-YXG100 software synth for playback out of
> NoteWorthy Composer. That is, the NWC program outputs directly
> through the Yamaha software, to the audio hardware and beyond ...
> The Yamaha appears as an output option in the NWC setup.
i don't think that AC is that kind of synth... you pick the soundfont you
want to use, for instance.
>
> Apparently not so with AC, at least as far as I've been able to
> discover. If that's true, it's too bad. It would be great to go
> directly from the notation software out through AC, with the
> appropriate soundfonts, and hear the music as notated without having
> to dump to a MIDI file first.
what is the file converted to for the yammer? isn't it something like
midi, or do you feel it's more subtle?
>
> Have you found any way to do that with Sibelius (or other notation
> software)?
i'm not playing into the pc with midi... i write the score directly in
sib, so i haven't got into midi proceedures. i checked out the machines,
of course, but i thought the string sounds were all really bad, even if
the piano sound was not so bad.
basically, i'm only using the AC product for critique and texture
evaluation.
>
> Many thanks,
>
> Joe
>
>
>
>
>
>
>
Joe Roberts
Thank you for the explanation. That explains it properly. Apparently Audio
Compositor doesn't function as a realtime software synth for audio output
from the notation program. Apparently it has to take a file as its input.
The Yamaha S-YXG uses its own wavetable, which is quite good for orchestral
patches. Unfortunately it doesn't support soundfonts. I'm looking for a
synth that supports soundfonts, and which can be called from NoteWorthy
Composer's output options. I've tried Seer's SurReal and it works OK, but I
can't stand the interface. (I don't want a jukebox on my monitor. I just
want a professional-looking and objective interface layout like Audio
Compositor's and Yamaha's).
mike wrote:
> what is the file converted to for the yammer?
> isn't it something like midi, or do you feel it's
> more subtle?
Oops, sorry, you're dealing with a Midi newbie here. What's a yammer? Do
all species have one?
Cheers,
Joe
mike
oops! sorry, that's the yamaha when it's camping... doing dean martin.
Joe Roberts
> "Joe Roberts" wrote...
>> Oops, sorry, you're dealing with a
>> Midi newbie here. What's a yammer?
> oops! sorry, that's the yamaha
> when it's camping...
> doing dean martin.
OK, got it now. Deep apologies for the OT; irresitible, won't do it again.
When the moon hits your eye
like a big pizza pie
That's amore.
When an eel bites your hand
And that's not what you planned
That's a moray.
When our habits are strange
And our customs deranged
That's our mores.
When a Japanese knight
Swings his sword in a fight
That's Samurai.
When Othello's poor wife
becomes stabbed with a knife
That's a Moor, eh?
When your sheep go to graze
In a damp marshy place,
That's a moor, eh?
When your boat comes home fine
And you tied up her line
That's a moor, eh?
When the light hits the grate
And the lines aren't all straight,
That's a Moire.
When you ace your last tests
Like you did all the rest
That's some more "A"s!
When on Mt. Cook you see
An aborigine,
That's a Maori.
Alley Oop's homeland has
A space gun with pizzazz,
That's a Moo ray....
A comedian-ham
With the name Amsterdam
That's a Morey.
It's a French specialty,
A white sauce with good brie,
That's a mornay.
Where a Greek keeps his oil,
So he won't let it spoil
That's amphorae.
When you've heard "Rumble" twice
And feel once more would be nice,
That's some more Wray.
When Mr. Scott finds a bullet
But doesn't know what to call it
That's ammo, Ray.
When you climb Everest
Who's the Sherpa at the crest?
Tenzing Norgay.
When you're filming James Bond,
And you can't replace Sean:
Roger Moore, eh?
Stab a Frog with your knife,
For foolin' 'round with your wife:
il est mort, eh?
When your chocolate graham
Is so full and so crammed
That S'more.
Where the esprit is high
And the spirit Semper Fi:.
Marine Corps, eh?
It's the surname of Al
And forename of Vidal.
Must be Gore, eh?
One more pun may I beg?
Sing a scale of solfeg?
OK? do re ...
At last there's no more!
This doggerel's a bore!
non encore!
When you've had quite enough
Of this dumb rhyming stuff
That's "No more!", eh?
- - -
Neil Rutman
Neil R
"Andy" <an...@iforgot.com> wrote in message
news:v0otubi...@corp.supernews.com...
mike
this is funny. is it yours?
Joe Roberts
> this is funny. is it yours?
No, not at all. It's a compilation from some time ago, in the NoteWorthy
Composer newsgroup. The NWC folks are outstandingly friendly and the forum
is remarkably on-topic -- that was just one side excursion a few months ago.
Best to you for the new year, Mike.
Joe
steve winkler
will be interested to see how they load, etc.
"Neil Rutman" <neilr...@bigfoot.com> wrote in message news:<16OdnWumN6O...@speakeasy.net>...
PEACHESANDSHIELA
>I am interested as well. Is there any compatibility with Livesynth Pro?
>
>Neil R
You would have to test that for me as I don't have the plug-in
John Arkensaw
> >
> >I am interested as well. Is there any compatibility with Livesynth Pro?
> >
> >Neil R
>
> You would have to test that for me as I don't have the plug-in
You have bot me quite excited - how much longer till you think you
will be releasing this?
Thanks!
David W Solomons
soundblaster platinum at the moment.
(If it's sf2 I assume I'll get the maximum benefit that my system is
capable of... even if the result would be even better on a better card
- or have I misunderstood - would it blow the platinum to shrieks?)
Kind Regards
David W Solomons
PEACHESANDSHIELA
>soundblaster platinum at the moment.
I believe the Platinum is just one of several Live! packages. They all
use the same card... the 25$ OEM Soundblaster Value is the same card as the
expensive packages.
>(If it's sf2 I assume I'll get the maximum benefit that my system is
>capable of... even if the result would be even better on a better card
>- or have I misunderstood - would it blow the platinum to shrieks?)
If you're reffering to the Live! Platinum package, no problems.