View Full Version : Question about how to use GOS

11-27-2002, 02:15 AM
Hi guys,

I\'ve produced hiphop and r&b for most of my career and am new to Gigasampler and orchestration (although I grew up playing violin in orchestras and understand how classical arrangements work), I have some questions I was wondering if you pros could help me out with concerning how GOS should be used as an instrument...

Sorry if I\'m rambling but...... Since there are so many different articulations and bowings for every instrument..how do you guys go about using them? Meaning, how do you decide whether warmth or virbrato or any other articulation is more important to have during a certain section? Does GOS affect how you compose, as in you would want to compose similar bowings in passages so you can stick with one sample for awhile? Do you have one midi channel set as one instruement and do multiple program changes on it as the need for articulations change? By the way, how DO you do a program change on a channel? Any insight would be appreciated. Im trying to learn the right way to \"think\".

Thanks, Vince

11-27-2002, 06:22 PM
What you are asking is not followed by a simple answer. Some composers spend years and years perfecting their orchestral sequencing technique. At the most basic level, the answer is do what sounds good, use the instruments and sounds that you like and follow your instincts. A good technique for learning this craft is to listen to a lot of orchestral music and understand how the different articulations are used within the bigger body of the orchestra.

As far as the MIDI sequencing, I usually lay out about 4 tracks per string section meaning 4 1st violins, 4 2nd violins, 4 violas and so on. Each group has Sustains, Marcatos, Pizzicatos and Tremolos. Then I have my articulations laid out and use them as I need them by switching tracks.
You can do the program change thing, but to be honest it\'s more of a pain than it\'s worth....same thing with the keyswitch.

I hope this helps.

12-02-2002, 07:09 PM
That\'s what I figured. Thanks for the advice. Another question: Since orchestra music is so free flowing and doesn\'t stick to a rigid tempo grid...are there any tricks to get everything in rhythm? Or do you just play it over and over again until you get it right?

12-02-2002, 08:28 PM

What I normally do is record line by line, starting from 1st violin all the way down to cello, or double bass, depends on how low I want to go. After recording the 1st violin, I will chop up the midi sequence (I use Logic) and then create different midi tracks, and assign a different patch to each track. This then gives me an idea of where the music is going. If I don\'t like it, then I will just record each individual section by itself.

Once I am happy with the notes coming in and out and being on time, I automate all my dynamics, modulations and stuff. If I want to use up-down bows, I then duplicate just that section and transpose one of them 3 octaves higher to get the different bows.

The only time I ever use Maestro Tools is when playing the legato patches. images/icons/grin.gif I used to like recording with all modulations etc but I find that I need to practice that section way too many times to get it to sound right, and by the time I do a good take, its bed time. By doing everything separately, at least I can spend some time with wifey before dozing off. images/icons/wink.gif


12-03-2002, 12:57 AM

Could you elaborate on what you mean by \"chop up the midi sequence and then create different midi tracks and assign a different patch to each track\"? I don\'t quite understand that...also, I\'m doing all my sequencing on a MPC2000XL drum machine...maybe I need to switch...Thanks!


12-03-2002, 04:30 AM

Err... I am not sure what you can do on an MPC2000XL drum machine and how you can manipulate your sequences? But by chopping up midi sequences this is what I mean.

Lets say I record an 8 bar melody line for the 1st violin on Channel 1 in Logic using the same legato patch. But the articulations for the 8 bars is as such,
Bars 1 to 3: slow moving legato
Bars 4 to 5: pizzicato
Bars 6 to 7: fast running passages
Bar 8: tremolo crescendo

So I would chop up the 8 bar sequence into 4 separate sections and each of the 4 sections onto Channels 1 to 4, so channel 2 only plays from bars 4 to 5 etc. Then I would select the appropriate patch for each channel.

After that, if I don\'t like the running passages from bars 6 to 7, I will just record that section in that channel until I am happy with it and so on. images/icons/grin.gif

Not really the best way to work but its good for me... images/icons/tongue.gif


12-03-2002, 05:51 PM
So basically, you still try to compose in a way that allows you to group certain articulations together right? I mean it would be very time consuming to do a piece in which you have passages that you need a different patch for every other note...THanks so much for your help.

12-03-2002, 08:25 PM
Yeh... But then, thats the music going through my brain and I will not feel happy until I get it exactly right!!! images/icons/grin.gif If only I could plug a 4 track directly into my brain and record it to tape that would be awesome!!!