Well, the reason I complaining was because my old music thread was locked, meaning that I couldn't 1.) remove all my old music or 2.) add new music.
Brambleclaw != a whole bunch of people
Go ahead, I'd love to see how to improve that sort of thing
Bramble's the extreme, but he's not the only one (though he is proof that I get way too into arguments). It doesn't help that I'm extremely sensitive to this issue, since I'm at a school where half the studentry plans to become professional musicians, so they're violently opposed to any kind of orchestral synthesis.
iDunno. If I ever do write a tutorial, it'll probably be on a whim, so I won't promise to do it or not to do it. I'm hesitant, though, because I know that lots of people will probably disagree with some of what I say, and I really don't want to argue with people any more than I have to.
Btw, for me it feels minor the whole time, I don't ever feel like in G major, it's completely e minor,
The piece begins with these chords: I iii64 ii64 (sounds like vi) VII64 (sounds like IV). It sounds like I iii vi IV, which is an uncadenced major circle-of-fifths progression. It then goes to III (V of E minor) instead of V (V of G major) when the vocal solo comes in--that's when you have the first modulation. The first half of the piece is mainly G major progressions that don't resolve to a tonic G major chord; they instead lapse into minor keys and end with either half-cadences or tonic minor chords. So, yeah, it sounds minorish, but it's actually majorish. I can hear the G major in the beginning, but I guess it's easy to lose it in the minor chords that follow.
this does not sound like a classical concert hall but nearly like a church
I think our definitions vary. Methinks you're referring to what I would call a recital hall, meant for solo performances or chamber groups. I'm referring to auditoriums and large concert halls like Carnegie.
If you just draw an automation curve for the velocity of your midi source, this won't be more than a very rough approach to what a good real string musician can do with just one long note (varying independently loudness and sound color and vibrato).
I can't control vibrato using my current sounds. Loudness and sound color are linked, kind of, though I could cheat the system if I really wanted to. Still, it would take an extremely talented musician--probably a virtuoso--to match or outplay my solo violins for the purposes I use them. Synths can do very easily a lot of things that most players can't, but good players can do very easily a lot of things that synths can't.
I was very interested if you could post such a tutorial, because the truth is, that a real orchestra is (at least at our days) still much better than a synthesized one,
I think you're oversimplifying things, and that it's not too great of an idea to try comparing a virtual orchestra to a real one (see below). Of course a real orchestra will be better at being a real orchestra than a synthesized orchestra (but it doesn't matter, because the real concern of both should be just sounding good). Basically:
but nearly no hobby musician like us has the money to hire a professional orchestra for every dumb little piece he writes. But nevertheless we want our music come to sound and a syntie orchestra is the best way to do so without too much cost, I think.
Therein lies a lot of people's problem. Writing for virtual orchestra is different than writing for a real orchestra. With a real orchestra, you have eight billion different instruments that you're automatically expected to use (regardless of whether you can really hear the clarinet 3 part in a
fff full hit), and you're forced to consider balance, which often makes you double parts all over the place, giving you huge meshes of textures.
Instead of having to worry about all that stuff, you have to actually "play" the instruments, and that's a lot of work if you want them to sound good. Almost every note in every part in "Remembrance" has modulation wheel movement, sometimes swooping from 60 to 127 in one beat. (With GPO4, it's the mod wheel that controls volume and timbre; velocity only affects the attack of sustained instruments.) I'm not going to dip into all the musician-nerdy specifics, but because of this, you generally end up with smaller ensembles, giving you a much clearer, more distinct sound than a real orchestra (because you can control everything about it, so you don't need to double an ostinato in four woodwind parts so it's heard over the brass), at the cost of virtuosity, texture, and color (because synthesizers almost never write for first/second violins, first/second violas, celli, basses, 2-4 trumpets, 4 horns, 2-3 trombones, 1-3 tubas, 2-3 flutes, 3-4 clarinets, 2 bassoons, 2-3 oboes, piano, and harp all at the same time).
Of course, all of this is assuming that you have really good samples to work with. I don't use really good samples.
Damn it, that's exactly what I always miss when I'm trying to get an orchestra sound out of my computer. Which sampler exactly does offer this and how do you switch between the articulations?
Any professional library worth buying will probably have several articulations. I use GPO4, and it doesn't have that many, but there are enough to satisfy me. (EWQLSOG has like 42967296 articulations or something.) You can load a different instrument for each articulation (which does have its uses), but GPO4 programmed key switches, so that when I play A1, A#1, B1, etc. in my first violin part, they'll switch to half-step trills, up bows, up bows with mutes, etc.
For lulz and wiggelz, I'm attaching a screenshot of the beginning of "Remembrance" as I have it in Sonar. See the original post for info.
Also, @piesosama: thanks!
). Something i struggle with. 
).
