He is just using modulation (dynamics), expression (volume), velocity, and timing his notes well. Same as everybody else. The magic is in the composition and orchestration.
@@snarf1504 No it is not. I've seen people make arrangements of Mahler symphonies or Stravinsky with VST libraries and they sound like shit. It's quite tricky to get VSTs to sound like this..
Stunning work as always from the ever talented Mr. Blaney! I know Andy's probably insanely busy 24/7 behind the scenes, but I genuinely love that it seems Spitfire will just coax him out of some hidden composer's lair away from the prying eyes of other sample developers every year or so, get him to write one of the most insanely realistic library demos you've ever heard, and then vanish back into the shadows again.
Wow, Andy Blaney, that's great! Like Prokoviev and Richard Strauss trying to catch a bird, I love it. (And the libraries are unbeatable. It would sound too harsh or too clinical with Berlin or VSL.)
I am very impressed, this is what the Spitfire Symphonic Woodwinds needed. Bravissimo. Anyway, this composition is too beautiful to be just an example track
@@neverlistsa Thanks for clarifying, I didn't have my brightness high enough. You are right, looks like something with a double-fader for mod/expression/etc control.
Amazing! I really hope these "performance legato" programming come to BBC and the future Abbey Road Orch libraries. BTW we need an Alto Flute for BBC (only Bass flute.. really?).
@@JonasSalvador It has the same type of depth of legato as these? I like how these show the page of the switching between legato too. I have BBCSO and I don't think I've seen legato like this but I do see legato.
@@scottglasgowmusic it doesn’t have the visualization but all patches named legato for strings and all patches named extended legato for winds and brass have this programming / playability. It’s basically just a legato with a velocity controlled staccato overlay that let you accent the beginnings of notes. The strings also have portamento at low velocity, and the winds have trills and runs if played at higher speeds.
Nice work. Only complaint with the SSO is that the high strings are harsh and screechy / ringing. I would definitely massage the sound in the mix with parametric EQ and maybe parametric compression / limiting. They're just something too shrill about them.
1:05 Is the harp panned left? I can hear the outriggers at work pushing the orchestra out to the sides, but the harp also sounds likes it's on the left, but that library doesn't have outriggers. Did you just pan it?
@@wolfie8748 Again, I would say Logic Pro X is better, but I am by no means a DAW master. This is just based on my experiences with each DAW when I was looking for one to get. If you like Digital Performer and are thinking of getting it, then by all means, go for it! It's not so much the DAW that matters, but the person using it.
Sending information to the software instrument to change up the articulations such as staccato, pizzicato, trills, etc... It seems like this instrument looks at the MIDI info and applies these articulations based on a sophisticated script. (This is what I'm guessing based on watching this video, not yet seeing someone from Spitfire talk about this instrument.)
Technically neat, but also very sad. The number crunchers, directors, and public can't tell the difference: this turns composers into artistic minded computer programmers and puts real musicians out of work. But hey...licensing libraries are already making composers largely unnecessary as well, so what goes around comes around. Ai is already beginning to take the place of actors, voice over artists, illustrators, etc. Handmade Art is on its way to becoming a ritzy top 1% indulgence or the equivalent to flipping burgers at poverty levels. I wish future generations the best!
@@neverlistsa Hi Norm. Apologies if something I said was confusing. I don't think I need to, but will for the sake of discussion, further explain how the advancement of technology, like the myriad of ultra realistic virtual instruments that film scores now gravitate towards, are replacing jobs for real live musicians. The midi programming is impressive. The software sounds incredibly realistic. But I don't see how this growing trend fosters community. I know several composers who have never worked with real musicians because the VI's are good enough, offer unlimited edibility, and allow for smaller overhead costs. I would bet that 90% of filmmakers at all levels would feel this sounds absolutely fine and use it, regardless if it was a midi mockup, and skip re-recording it with a real orchestra. Plus, the film studio would probably get their big orchestral score it at a fraction of the price, let alone pay a premium for a soloist. I mean...I'm not making this up. I'm a production sound mixer, supervising sound editor, dialogue editor, re-recordng mixer, and formally trained musician. I work with filmmakers every day. I can point out the additional Ai software that's replacing other artistic mediums if you'd like. I'm also open to discussion if you think I'm totally off base.
My doctoral paper was on this exact 'issue'. My premise wasn't that sample libraries are as good as the real thing, but that they were increasingly good enough. Ruffled a few feathers even asking the question.
