Further examples from practice


"Experiences when working with samples"

work in progress

practical example

August 2017

The following project was created with music students (mostly instrumentalists) who already had experience with sequencers or notation programs. The group was given the task of designing a "final for a fictitious ACTION scene" with a minimum of 30 seconds.

 

step 1

Demo material: from film scoring sound libraries

The students initially received suggestions from the Internet.
The examples are characteristic film music sequences. 
Audio sample 1: Native Instruments Komplete Action Strings
Audio sample 2: East West Symphonic Orchestra
Audio sample 3: Sonivox String Collection

step 2

sample player (free) | VST instruments | no further postprocessing

Next, the group got a free sample-oriented sequencer program with matching sounds from the film scoring section. On the purely graphic surface (picture below), the following sound sample was created by selecting suitable sequences:

step 3

notation program | using its sound library 

Then the group transcribed this music: starting with a coarse score with basic information on tempo, rhythm, key and coarse entries to melodic and harmonious courses. The details were transferred into a notation program and roughly supplemented with volume descriptions and articulations. For control purposes, the score was played with the program-specific sounds and thus adapted to the original.

Evaluation of the results: 

a) The result of the sample player:

The musical character, the "fat sound" and the selected instruments in the sample player (sound example 4) were positively evaluated.

The group liked to be able to make music with so little effort. For collecting ideas, such programs are well suited. Users have fun from the beginning when "experimenting". Less positive evaluated was the mix, which was often too "spongy" and too "unrealistic" to the professional musicians. 


b) The result after the transcription:

The result was rated as approach, since not all sounds could be "reconstructed". In addition, the spatial sound image was not comparable to the original. Despite these drawbacks, the result was that the current score sounded much more transparent than the original. On the notation screen, the sound of individual instruments could be individually selected, which made the result much more differentiated. It was generally less tried out, but rather the musical experience of the group was used.



There was agreement that higher-quality software tools could lead to more realistic results. Only the skillful handling of VST controllers and sound sets Expression Maps Articulation IDs) * gives the sound result its individuality. However, the discussion also revealed that the "personal taste" plays a role and that sound is "nothing absolute".
)* Designation depends on the manufacturer