Hello Will! I meant your actual speech. Not the pauses between sentences. But maybe the pauses between words. I have to listen again. I will do tat later tonight or tomorrow and tell you, what I find exactly. Warmly yours Julien -------- Music was my first love and it will be my last (John Miles) ======== FIND MY WEB-PROJECT AT: ======== http://ltsb.sourceforge.net the Linux TextBased Studio guide ======= AND MY PERSONAL PAGES AT: ======= http://www.juliencoder.de

On Mon, 14 Mar 2011 09:18:35 +0100 (CET) Cedric Roux <sed(a)free.fr> wrote: Well, seeing as you asked :) The words are here: http://www.fleurdelis.com/desiderata.htm I started off just reading the text through several times to get an idea of the length. I read it out loud as you get a very different time compared with just reading it in your mind! Knowing roughly how long this was I then composed the music to create what I hoped would be the right atmosphere but around a minute longer to allow for some form of intro and an, as yet unimagined, tail. This was produced using Rosegarden as a MIDI recorder of each track while at the same time playing a click track in a loop for timing. All the synth parts are my own voice patches in one instance of Yoshimi. With this mostly in place I then started to make recordings of the voice parts. For this I used headphones, routing both Yoshimi and the unmodified mic (shure PG58) input direct to them via jack. I also routed the voice part through jamin with its default compression settings but EQing out some room resonance and cutting the lower frequencies that the mic tended to boost. This was then routed to timemachine. I recorded several complete passes like this one after another, taking a short break between each, then selected the one I thought was best. I didn't try to cut and paste the best bits from each as I found that each one came out slightly, but noticably different due to me not being in exactly the same position relative to the mic each time. I loaded the recording I wanted to keep into audacity and used the noise remover plugin on it, then did some compression by hand to deal with a few places where I was too loud for just a few words. I then saved this track. Next I loaded it into Rosegarden and lined it up with the start of the second musical 'verse'. I readjusted the second soft breathy synth part and added in the strings and later choir part. I then ran the last part in a loop continuously while playing that bright lead synth part until I had something that I thought fitted. Originally I intended to play it after the speech was finished and the first few notes were just a quiet lead-in for timing, but I found the overlap fitted so well I left it as it was. Finally I added the rhythm guitar part (Squier Tele). This was recorded direct from the soundcard panned to one side then some reverb added with rakarrack. Phew! Synth patches: pad - 'Smooth' bass - 'Soft' + 'Ocarina' (both playing the same track gives a very smooth deep bass) 1st lead - 'Rushes' strings - 'Full Strings' 2nd lead - 'Another Choir' Last lead - 'Tunnel Piano' -- Will J Godfrey http://www.musically.me.uk Say you have a poem and I have a tune. Exchange them and we can both have a poem, a tune, and a song.

On Tue, 15 Mar 2011 11:36:41 +0100 (CET) Cedric Roux <sed(a)free.fr> wrote: Nono :) Yoshimi is a softsynth and like most softsynths the sound 'packages' are usually referred to as voice patches - this stems from the early analog synth days when sound generators, effects etc. were linked together with real audio patch cables. Unfortunately this is not an option. I live in a rather noisy environment with little prospect of improving the situation so use a close-mic approach to get a decent signal-noise ratio. Yes. I have two MIDI keyboards, and very occasionally use them together but more often use just the lower one which has a nicer action. It takes time to get things organised just the way you want them. I started out in 1990 with just a Yamaha SY22 keyboard, and developed from there. The first thing was getting a computer based sequencer so I could make multi-part compositions. Then I added a Roland Sound Canvas to get more (and better quality) sounds. About 10 years ago I got into using softsynths as well, and slowly integrating it all. I've found it makes a lot of difference if you have a room where you can keep everything permanently set up so you just switch it on and go! -- Will J Godfrey http://www.musically.me.uk Say you have a poem and I have a tune. Exchange them and we can both have a poem, a tune, and a song.