On Tue, 23 Oct 2018 15:08:45 +0200 (CEST), Jeanette C. wrote: Big bands not that seldom include more often atypic brass as well as less often atypic woodwind instruments, let alone special string sections, but usually this is a domain of "radio orchestras". Regarding light muse we awful Germans have some well maintained fortune, the so called "radio orchestras". I suspect that this is the only relatively positive income of the otherwise disgusting distinction between "E-Musik" (serious music) and "U-Musik" (entertainment music). A few musicians don't need to do completely unrelated jobs or to be willing to play such music as salon music. As a hardrock musician you unlike could benefit from this approach, but for audio engineers, it could be helpful, even if you never ever would be willing to record a "radio orchestra", at least for getting in contact with employers. My personality is absolutely ambivalent, also regarding "radio orchestra" arrangements. While I like your composition and arrangement, I would prefer to get rid of the harp and phrases of the harp repeated by other instruments. OTOH regarding your inspiration, it makes sense to include it.

On Wed, 24 Oct 2018 20:12:09 +0100, Will Godfrey wrote: https://en.wikipedia.org/wiki/Big_band Nowadays electric amplification isn't an issue, so loudness and directionality of the instrument isn't that important anymore, but the bassoon and similar instruments are not native big band instruments. I'm not that much a big band enthusiast, I guess the only clean big band record I own is "Two Little Animals" from the "Vienna Art Orchestra" and maybe you could consider a Tim Isfort Orchestra CD I own a big band recording, too, while I own the latter because I was involved, not because I like the music. IMO big bands make sense for old Jazz and Rock'n'Roll, but nowadays I consider big bands as obsolete. I suspect the "Brian Setzer Orchestra" is the only existing big band, that still does reach a huge audience of listeners with different tastes in music and different interests. Other existing big bands, just reach an audience with an explicit taste in music and interests, such as e.g. ballroom dance. However, when using synthesizers to imitate classical music, big band music, etc. there are a few things to consider, if you want to make it sound authentic. One thing is the orchestration, but usually we nowadays don't like to limit our music to native orchestrations ;). That Jeanette describes her music as big band music does fit well as a description. The orchestration fits better to that of a radio orchestra, but since radio orchestras could play different styles of music, "big band music" narrows down the style, while it still could be everything between a jazz big band playing John Coltrane and James Last playing ABBA.

On Thu, 25 Oct 2018 21:42:03 -0400, Robert Vogel wrote: IMO scores are way overvalued, since they are not necessarily needed, neither to make, nor to listen to music. However, my opinion isn't from value. I just wonder if it makes sense to convert braille music notation to a score and vice versa. Musescore has got a braille music notation interface? -- Kitty, Daisy & Lewis - The Game Is On https://www.youtube.com/watch?v=tL6Cuo0YPlo Kitty, Daisy & Lewis - Down On My Knees https://www.youtube.com/watch?v=jD86aRsJ1N0 Kitty, Daisy & Lewis - Black Van https://www.youtube.com/watch?v=-lL--_xzNLI

Oct 26 2018, Robert Vogel has written: Oh, the samples aren't that bad, nor is my performance, even though it might have been a bit better. :) I can't use musescore, something you might not know, I'm blind. I could do it in Lilypond, if I were so inclined. Besides, I didn't write a score. Hm, am I to be insulted now? You wouldn't be saying that the combination of my performance, sound set and mixing is so bad that the end result is a complete mess? :) Really, mostly just winding you up. I don't, as I say, I didn't score, not even in MIDI. To counter the effect of the rather static samples a bit, I played every single line live and in audio. I could have played it live in MIDI, but with my setup it would have meant running each track a second time. With so many outboard tracks from one source that would be awkward. I'm a bit sorry that my reply was slightly satirical. But by the words alone it sounded very much so that you thought the resulting song so low grade that it practically failed. It probably wasn't your intention, words alone can sometimes be misleading. Best wishes, Jeanette -- * Website: http://juliencoder.de - for summer is a state of sound * SoundCloud: https://soundcloud.com/jeanette_c * Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g * GitHub: https://github.com/jeanette-c * Twitter: https://twitter.com/jeanette_c_s You should never try to change me I can be nobody else And I like the way I am <3 (Britney Spears)

Hi Tim, Oct 26 2018, Tim Goetze has written: ... ... Yes, that is a good idea. I was very lazy this time, taking presets from the hardware involved. I already knew, when I was recording, that some further programming would have made a difference. Filtering is one, a slight random variation in pitch - static per note - is another, some velocity switching could also help, as might even some breathy/noisy sample layering for wind instruments. That's where it really pays to put in some extra work before one starts. :( Thanks for your kind comments. Best wishes, Jeanette -- * Website: http://juliencoder.de - for summer is a state of sound * SoundCloud: https://soundcloud.com/jeanette_c * Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g * GitHub: https://github.com/jeanette-c * Twitter: https://twitter.com/jeanette_c_s You should never try to change me I can be nobody else And I like the way I am <3 (Britney Spears)