Garritan Orchestra sounds

Can I use the Garritan Personal Orchestra Sounds and the Garritan Big Band Sounds in Logic Studio? If so, how do I import and use them? Thanks in advance guys

Hi,
Yes, that sounds silly indeed. You should read the Getting Started Guide first and then read chapters 1-4 and 10 of the LP8 User Manual.
When you install(ed) Kontakt you have (had) the option to do a custom install. Do so, and install the AU plugin.
Maybe you have already installed it; look either here: 'yourHD'/Library/Audio/Plug ins/Components, or here: 'yourHD'/Users/'you'/Library/Audio/Plug ins/Components.
regards, Erik.

Similar Messages

Classical Orchestral Sound: Panning, EQ, and Convolution Filters

Hi,
I'm now studying the sections of the rather large, but quite informative
book, The Guide to MIDI Orchestration, 3rd Edition, by Paul Gilreath
to obtain details about how to use my non-ambient, dry samples of
the orchestra to create a true, classical orchestra sound (not a
hollywood sound), though my music is not 19th-century classical.
I'm also studying the Apple Logic Pro plug-in book concerning the
convolution filter, Space Designer.
Being a beginner, my learning curve is rather slow. But, I am feeling
more and more confident. And, this confidence is boosted by the
fact that I have a 3.0 gHz Mac Pro that can handle, most likely,
the processing required.
I post this thread to see if there are others who might have similar
goals and might have hints or ideas on this topic.
For instance, does anyone out there go through the details of
panning to place the instruments of the orchestra in their
correct locations?
Does anyone lower the EQ of the percussion section because they
are placed further back in the orchestra?
Does anyone deal with the details of singling out a particular section
of the orchestra and consider "delaying" the sound, such as the
percussion section, or perhaps the French Horns? If so, how do you
achieve this? Do you use a plug-in for each section, or single out
some sections for a plug-in, and plug every other section into another
plug-in?
So, if you all have any experience in these matters, or some "best settings"
for some of these panning, EQ, and convolution filters (or even simple
reverb plug-ins), I'd love to read about your experiences while I
continue to study my books.
Thanks,
Sys6
P.S.
My orchestra is almost all non-ambient samples. Garritan Orchestral
Strings. Westgate Studios Advanced Woodwind Collection. And,
a new dry, brass collection which has not yet been delivered. My
percussion is Apple Garage Band percussion (which I'm assuming is
relatively dry).

Hi,
Here are some details of my set-up. I continued to read the MIDI
Orchestration book, and the Logic Pro manuals where applicable.
I set everything up, and then I visited the above links to read them
in more detail, to see how they solved the problem. First, I don't pretend
to have "solved the problem", but this is my first start.
Following the MIDI orchestration book, I discovered that my Garritan
Orchestral Strings were in Stereo, so I used them in stereo, specifically
using the insert, Direction Mixer.
Violins I and II, Violas, have a Direction Mixer spread of 1.3. Following
the book, the Celli and Bassi were given a Direction Mixer spread that
was wider, and I chose 1.5.
I made all the brass monophonic, and used the pan pot on the bus.
My Westgate Studios Advanced Woodwind Collection is mono, so
again I used the pan pot on the bus.
The percussion samples (piano, harp, timpani, and everyone else)
are stereo, so I used dirmix also.
For the most part, each section of the orchestra, such as either
Violins I or oboes (and English Horn), each feed into their own
bus. So, every section can be panned using the pan pod if
they are mono, or using dirmix otherwise.
Every section of the strings feeds into another bus dedicated to strings.
Every brass section feeds into a similar bus dedicated to brass.
The same for woodwinds, but there are two buses: one for the
front woodwinds (flute family and oboe family) and one for the
woodwinds sitting behind them (clarinet family and bassoon family).
For some of the percussion: timpani and other miscellaneous
percussion, for now, these go to their own bus. Also, piano
and harp go to a pianoAndHarp bus. Tubular Bells,
Marimba, and Xylophone share a bus. All these sub buses use
dirmix for stereophonic spread and panning, all all these sub buses
feed into a master percussion bus.
Everyone audio instrument has its individual volume level set to
-15 db. I may go over every instrument again and make it even
lower, such as -20 db.
There are six master buses (nearly at the top of the food chain):
1. String Bus.
2. Woodwind Bus Front
3. Woodwind Bus Back
4. Piano Harp Bus
5. Brass Bus
6. Percussion Bus
Each of these higher-level buses received one insert: Space Designer
(a convolution reverb unit).
And, for each, Space Designer (at least at this time), is practically
identical: that is, I chose
33 Misc. Reverbs > Misc. Reverbs - Short Dark > 1.5s_Dark & Small
which I like (for now, for chords anyway; later I may need a smaller
room for music with notes moving at a faster clip and for music
that is more chromatic).
There is one parameter that differs for each of these six Space
Designer inserts:
1. String Bus: Pre-Delay 0 ms
2. Woodwind Bus Front: Pre-Delay 1 ms
3. Woodwind Bus Back: Pre-Delay 2 ms
4. Piano Harp Bus: Pre-Delay 3 ms
5. Brass Bus: Pre-Delay 4 ms
6. Percussion Bus: Pre-Delay 5 ms
Other parameters may differ over time. For instance, space designer
seems pretty clever, it can add a pre-delay, it looks like it can
act as a low pass filter, and so forth. So, maybe, over time, I might
use it as a low pass filter for the percussion section, not sure yet
(hard to tell, since my percussion section is not very good, it is
Apple Jam Pack Orchestra).
All these six busses feed into a final bus, which at this time
does nothing, but pass everything on to Output 1-2.
I focused my musical chords to be very soft or very loud in
the score editor.
That is, the goal is not to have the final mix exceed 0 db.
Unfortunately, I failed in this regard, for in a rather loud
section (at the end of the above sound file), the chimes played
loudly brought me over the 0 db level. So, for now, I turned
down the bus that these chimes feed into. There are other
more advanced solutions, but for now, I am focusing on
simple solutions (though I am always happy to hear about
advanced solutions which I may implement at a later date).
Over time, of course, I may adjust pannings, stereo pan width,
and the like. But, being a beginning "sound recording engineer,"
I am impressed with the results! Wow!
As an aside, each of my 3.0 gHz processors is being used;
two are used for effects processing (such as for the 6 Space
Designer plug-ins), and two are being used for audio processing.
No disk activity occurs (I use the latest Lacie external drive, the
biggest I could find, and perhaps it is buffering enough files
so that the drives are never accessed?).
Thanks again, if there are other details I have left out, I'll
update.
Sys6

Where can i download jam pack 4 (orchestral sounds) for garageband 6.0.5. please. I have an air book maverick OSX 10.9.4. Thanks

Where can i download jam pack 4 (orchestral sounds) for garageband 6.0.5. please. I have an air book maverick OSX 10.9.4. Thanks

This JamPack is no longer sold separately by Apple. You could search for the boxed retail version of the JamPack at eBay or Amazon.
But it is much more economic to install MainStage 3 instead. You can buy it at the Mac App Store. MainStage 3 will install all five JamPacks for a price much less than the price of a single JamPack used to be. Afterwards the JamPacks will work with Logic and GarageBAnd as well.
Just launch MainStage after installing and use the command "MainStage > Download additional content" and select the JamPacks you want to install.

East West Orchestra Sound Libraries Instrument REGISTRATION TOOL

Hello.
I switched to Intel Mac and have a huge problem running my VST Instrument Plugins because I can't REGISTER them on my new machine!
East WEst uses a REGISTRATION TOOL for each library, I have Orchestra Gold , Stormdrum and GARRITAN Personal Orchestra, another one with similar tool
These TOOLS don't launch.
Anyone have a work around???
I can't re register them so I can use them, it's driving me nuts.
I should have kept my Old G5 for music production. :/
thanks
A

Hi John,
I'm in the same boat, unable to use play as a plugin in mac os x 10.6.5
I had a HD Crash and had to reinstall everything.
The Mac Service people updated the OSX and and now all the EastWest Complete Composer Collection does not open , saying the same thing:
Play could not load /Volumes/Macintosh HD/Play Libraries/EWQL Orchestra Library/Gold Instruments/Gold Strings/18 Violins/5 Keysw/../../../../Gold Samples/Gold Strings/18 Violins/18 V F/V18svF F/V18svF55 F.ews.
Something is going on with EastWest.
I'm now going back to Mac Osx 10.6 as it worked fine on this version
I'll keep you posted
Dalton

Orchestral sounds for Logic Express

I purchased Logic Express believing there were plenty of orchestral samples/sounds beyond those of Garageband. I was sadly mistaken. Can anyone recommend any good orchestral VST or sound packages for Logic Express?
Are there any that are free to download? Or purchase?
And, what is the difference between a VST package and a garageband jam pack? Same thing but different??
Thanks for the help to this newbie to using VST's and LE.
AD

Quick google tells me the difference between VST and AU (Garageband) is:
VST is the plugin used for both Macs and PC's so there are lots 'out there'.
AU's (Audio Units) use Mac OS X's native Core Audio. It seems that Logic can use both types, but Garage band can't (I may stand corrected as I don't use GB). The technical difference is, it seems that AU types are more 'efficiently' processed by OS X and the apple hardware - again this may or may not be true now that CPUs have moved on since the information I found on the 'interweb'. Some claim one is superior in sound to the other, but again I have no technical information that I have found to prove that.
I guess it's sort of the same difference between AAC and MP3, Apple can use both, one is considered superior in many ways, but the other is used more by the software manufacturers. I couldn't think of a car analogy
As to a pitiful amount of orchestral samples, yes I concur, compared to Logic Pro (which has a lot) Logic Express has about 20% of the total.
I haven't purchased any loops/samples from a third party myself, but you can find lots of 'free' download samples by searching.
For instance:
http://www.macloops.com/
or
http://www.platinumloops.com/
are two good places to start. You get some free samples to see if this is the kind of thing you want.
Good luck.
P

Garritan Orchestra

Ouch, my head!
Oh, the excesses of xmas! Just have a question if anyone is using Garritan out there? Installed it yesterday and logic is opening it but cannot get any sound from it. Mmmmmm, possibly the sherry puddled the brain but if anyone has any info on garritan I would appreciate it.......oh, ow! definately shouldnt move head too quick.
Mart

Move the Modulation wheel before you play any keys on your keyboard.
The GPO strings, horns and woodwinds are unusual in that key velocity does not control volume.
When using the GPO you are supposed to keep your left hand on the Mod Wheel at all times and use it to create dynamics and crescendos.
GarageBand, Logic and Logic Express always set the Modulation Wheel value back to zero whenever you switch from one track to another--regardless of the actual position of your Mod Wheel. So when you hit the keys on your keyboard, the volume of your sound is set to zero and you hear nothing.
Whenever you need to play anything in GPO or record anything, you need to goose the Mod Wheel from the zero position to up about half way to start playing at a mezzoforte volume level. Otherwise you get no sound at all.

Garritan Personal Orchestra with Logic?

Is anyone here using the Garritan Personal Orchestra with Logic?
How stable is this within Logic, any troubles?
Also, how do the solo string instruments sound, realistic or synthy?

I have absolutely no problems with using the Garritan Personal Orchestra (GPO) with Logic. Currently, the GPO uses Native-Instrument's +Kontakt 2 Player+ as do many, many other instrumental libraries. With that in mind, the other instrumental libraries (powered by +Kontakt 2 Player+ ) work just fine with Logic as well. Very shortly, though, the GPO will be coming out with its own "player" called Aria. To make a somewhat long story short, Aria works just fine with Logic as well.
As for the sound of GPO's solo string instruments. . . . I tell you, any of the sounds can and do sound unrealistic or synthy if played without manipulation. What makes them sound quite realistic is a tiny bit of effort with controlling the volume, vibrato, and a couple of audio parameters that can (and should) be manipulated during the sequencing process. But this is true for most if not ALL orchestral libraries made by any of the other instrumental software companies. For just a little under $200.00 (USA) dollars, you get a whole LOT of orchestral instruments that sound quite convincing. . . with a little effort! I would say that GPO is an EXCELLENT orchestral library to start with if you plan on doing lots of orchestral compositions for almost any musical situations. If you're like me, than you might want to later invest in other orchestral libraries and use them in combination with the GPO library. Again, with a little effort, one can achieve an even MORE realistic sound using combinations of instrumental software libraries.
But I suggest that you simply visit the GPO site. There you'll find a HUGE selection of demos that show off the GPO library in a very convincing way! I have heard examples by people who put a whole LOT of effort in their sequencing project that just sound very, very life-like! So not only did they put LOTS of effort in manipulating the individual orchestral sounds (including strings), but they put LOTS of effort in planning careful instrumental placement in the stereo field, proper use of reverb, EQing, etc., etc. There truly are examples of very life-like sounding orchestrations using GPO on the official web site! (There are also some very less than convincing examples as well.) So, take some time and explore the web site: http://www.garritan.com.
You'll find even MORE examples at: http://www.northernsounds.com
Good luck with your decision. . .
Ted
P. S. Just for a little clarification. . . . the +Kontakt 2 Player+ (that currently houses GPO and many other instrumental libraries) can be a bit of a challenge to configure to work properly with the multi-instrument function found within Logic Pro 8. It's also a bit of a CPU and memory hog. But with some adjustments and some proper configuration, the +Kontakt 2 Player+ and its instrumental libraries that it powers will work just fine with Logic.

Vienna sound font problem with audigy

HiI have "audigy LS" installed, but it is not compatable with the "vienna sound font".Which Sound Blaster sound card would I need, and would it be an improvement over my existing card. Thanks

I suppose that, all other models but Audigy LS and Value are SoundFont capable ... just check the Creative web resouces (product pages) or user's guides (support - produc documentation) for those cards you're interested in ... there'll you see a list of bundled software ... if you see soundfont bank manager software listed there then the card is (normally) SF capable but, if you also need a MIDI I/O for external MIDI keyboard Cntroller then, those systems w/ external I/O Dri've/Console are the only choices (from Creative brand) for you.
EDIT:
If you have installed the Kontakt Player which comes w/ Sibelius software, you'll get better results w/ that compared to SoundFonts which ones comes w/ Soundblaster cards. To get some noticeable improvements into Sibelius sound quality, you need to buy some quality soundfont banks. Also, for Kontakt, you can buy some extra soundlibraries as like the GPO Garritan Orchestra Sibelius Edition and Pop & Rock Collection, which both adds plenty of quality instruments to choose from.
- http://www.sibelius.com/products/gpo_sibelius/index.html
- http://www.sibelius.com/products/rock_and_pop/index.html
jutapaMessage Edited by jutapa on 02-6-200708:0 PM

Can you use Sibelius sounds with Logic?

Sibelius comes with it's own orchestral sounds (Kontakt sounds). I know you can buy the Kontakt sounds separately BUT does anyone know if Logic will play the ones that exclusively come with Sibelius. I'm wondering if Sibelius comes with some code that doesn't let it share the instruments?
Anyone able to help?

The plugin only works in Sibelius, as far as I know. It's hard coded that way, because it's a Sibelius extra, not a general purpose plugin for use in other hosts.

Getting started... orchestration and reverb

At long last, I am the proud owner of Logic Pro 7!
This program is so excellent. All the pro apps are eons above what I expected. Sculpture especially, but space designer too.
The main reason I'm posting this is for tips on getting started with the orchestral sound. I've got some orchestral sample sets, and i was hoping to get some starter tips on good reverb setups for them to get the most authentic, film-score sound i can.
Is there a site that offers downloadable space-designer IR's or other logic downloadables? presets for compressors or EQ's, etc.
I've bought Logic to score films... does anyone have any tried and true methods for orchestral setups. I'm really looking for what best string of reverbs works best, and sounds best. I've heard of using reverb on a certian section alone first, to put it in space (a small reverb on a violin section), then washing it with a hall reverb. Any recommendations? Space designer presets?
Thanks!
Chris

the trick is not just about reverbs, but also about attack and decay levels on your instruments and eq.
most sample libraries (including VSL) record instruments with the mikes too close to give an attack/decay and frequency response that resembles what you would hear from an actual orchestra. EWQLSO have addressed this but have other problems.
putting the instruments into a space relative to one another is certainly the key (including panning). the thing to do is to listen to a good film score, especially recorded by shawn murphy and listen to reponses of sections and individual instruments in relation to the their dynamics, note range etc and try to adjust your individual instruments to match this.
take for example a harp instrument. how would you hear a soft harp note compared to a loud harp note from the audience (or the OH stereo pair)? how do they compare to the sample instrument you've got.? for a start, from a distance the range between the 2 dynamics are much closer from far away than they are close up. the bass in the note dissapates over distance compared to the highly directional upper frequencies. the attack is not nearly as detailed over distance.
simply sticking different reverbs on or trying to find a "fix all" reverb will lead to frustration in my opinion. you need to do a lot of judicious placing, adjusting of attack and decay, and especially pulling out bass and lower mids. maybe even lifting the the upper mids a bit to give some clarity, all to push the instrument back into the hall. this will stop the muddying effect you get from using samples and leave space for your basses and cellos and other instruments that need to be heard in the bass spectrum.
so, a brief and basic setup might look like:
strings (ie all of them seperated NOT a pad and all adjusted individually) to bus 1 -> a little reverb
winds (likewise) bus 2 -> a little lower mid taken out, a bit more reverb.
brass (as with winds) bus 3 -> maybe eq'd a bit further than the winds and a bit more reverb as well.
percussion, bus 4 -> generally, because they are very loud instruments, they have been recorded at a respectable distance and sound right uneq'd. the timp is a different matter though, depends on what samples you are using.
piano & harp bus 5 -> have similar issues as one another and can be bussed with the percussion or on their own.
the advantage of doing things this way is that it makes mixing really easy because sections are often doing things together.
you rightly pointed out that you should have a reverb for the entire band to put them all into the same space. currently i still favour my outboard lexicon rather than space designer but it is absolutely brilliant. i sometimes use it as part of eq process for example with the brass or the percussion. but in the end i generally prefer it without. often less is more, and that is certainly true of reverb.

A Choir Query: from FinalePM to LogicXP (and back)

The Challenge:
A Mac-based filmmaker/video editor anxiously seeks advice from experienced users of Finale and Logic Express who know the inner mysteries of MIDI (and may also be proficient with GarageBand).
In a nutshell, I'm struggling to understand the simplest way (if there is such a thing) to add some specific non-orchestral sounds to my Finale PrintMusic Instrument List, to beef up the playback of some original compositions.
And failing that, the simplest way to use some of the specific SmartMusic SoundFont samples included with FinalePM in a GarageBand or a LogicExpress project.
The Rest Is Background and Elaboration:
I've spent the past few weeks using Finale's PrintMusic2006 to develop some musical underscores for a short film I'm now editing (using FinalCutPro 5). The simple arrangements I've created using PrintMusic's built-in SoftSynth player and the SoundFont instruments package so far work pretty well as demos to accompany the printed notation, and that was their original intention. But parts of them actually sound not too bad, and are close to being useable for the film itself. So now I'd like to see if I can take the playback aspect even further, and use PrintMusic (either on its own or in combination with other software) to generate a more polished final output.
So far though, my experience with the other music software available to me has been frustrating:
- GarageBand3 will import a MIDI file exported from PrintMusic, but only at a single tempo. This one-tempo-only-per-project limitation is a major roadblock for me, because while this music is hardly sophisticated, it does have tempo variations, as well as key and time signature changes.
- SoundtrackPro, supposedly a higher-end app than GarageBand, won't even import a standard MIDI file. (What's up with that, anyway? I still haven't quite figured out where STP lies on the GarageBand-LogicExpress-LogicPro spectrum.)
- and LogicExpress (which I don't yet own but am testing a trial version of) - aside from being a whole new learning curve I really don't have time to get into right now - doesn't even have basic versions of the software instruments I'm trying to find better quality versions of, such as Harpsichord, Bagpipe (yes, the music involves a very strange mix), and most of all, choral/choir effects (more human-sounding Oohs, Ahhs, Doos, and Mmms, both male and female).
The Arrangements:
The instruments I've used in PrintMusic for playback of the different versions of the film's music are:
- Church Organ,
- Choir Aahs
- Voice Oohs,
- Bagpipe,
- Harpsichord,
- Tubular Bells,
- Woodblock,
- Overdriven Guitar,
- and a couple of bg synth effects.
The organ, harpsichord, guitar, bell and woodblock all sound not too bad in context. The Bagpipe's a bit wimpy, but both it and the Harpsichord are at least better than the ones the Apple apps offer - which is to say, none! And I was especially disappointed to see that even with the addition of hundreds of dollars worth of JamPacks those same apps still don't appear to offer any human voice/choral Software Instrument sounds whatsoever.
I do see such sounds available for purchase at sites such as these:
http://www.soundsonline.com/sophtml/details.phtml?sku=PS13
and
http://www.bestservice.de/detail.asp/en/vocalchoir/extended_classicalchoir/813442a66p249p64p49
(with of course much higher-end and higher-priced options also available).
But the question I'm hoping someone out there can help me with is:
- Can PrintMusic make use of these kinds of samples (either these specific ones, or any other kinds in any other formats -- including the Software Instruments already included in Logic and/or GarageBand)?
- And are there sites from which specific software instruments can be purchased and downloaded a la carte (the same way you can easily preview and then download individual typeface fonts from any number of freeware, shareware, and commercial sites)?
Because even though it's very much a notation program first and an audio-file creation program second, Finale's simple PrintMusic is right now much closer to having the sounds I want for this particular project than the much costlier LogicExpress. But Is there in fact any way to selectively add to the number and variety of Instruments which can be accessed in PrintMusic's Instrument List? And can it utilize additional software instruments such as the choral sounds on Peter Siedlaczek`s "Extended Classical Choir" noted above?
And if (as I just did) I download an ".sf2" formatted sample of a bagpipe, how do I get a Finale (or a LogicExpress for that matter) to actually see the darn thing and make it accessible -- is it as simple as just placing the file in the correct folder? I've scoured the manuals, and I still don't know.
(I see on the MakeMusic site how for the full Finale "exciting libraries of additional instruments are available from Garritan and Native Instruments", which makes me think that instruments in the correct format can indeed be added to a Finale Instrument List -- although things like the Garritan Personal Orchestra package wouldn't help me right now, since the few specific sounds I'm seeking are choral and/or non-orchestral.)
So I'm feeling more than a little lost right now in what seems like a minefield of different and often incompatible synthesizers, sequencers, samplers and samples out there. I'm really hoping someone can at least begin to steer me in the right direction on this question.
Very much looking forward to hearing from you.
Thanks!
John Bertram
Toronto
(Versions of this message have also been posted to other online forums relating to Finale, GarageBand, and MIDI-based music creation on the Mac.)
My system info:
PowerMac G5, dual 1.8 GHz, 3.5 GB RAM, running OSX Tiger 10.4.5
G5 dual 1.8 Mac OS X (10.4.5) Mac user since 1990 (starting on a sleek SE/30)

Thanks for the reply, Justin. (Sorry about the slow response -- I'm a bit swept up with March Break kid stuff.)
Frankly, hiring a tech to help you through the
process is perhaps the best option. A few hours is
all it would take.
Attempts to go in that direction have so far met with limited success, but I'll keep beating the bushes. (Having some trouble connecting with someone with the right combination of experience in the right combination of apps -- Finale, LogicExpress, different samples in different formats, etc.)
I come from Logic Pro so there may
be a few differences (one of the is the EXS24 is
EXSP24-every detail concerning limitations I do not
know).
See what I mean!
Otherwise, I can make a few suggestions to get
you started. If you do this often and really want to
focus on sound quality you'll want a sound library
which is forward compatible. You can then compose in
Finale and move the sequence over to Logic and work
on the sound. If you want to work with soundfonts
DLSMusic device will load them up.
I was getting the impression I'd need a 3rd party utility like SoundFont Synth (http://andydrabble.users.btopenworld.com/soundfontsynth/moreinfo.html) that can use sound font files in GarageBand, Logic, etc. Are you saying that LogicXP can access ".sf2" files, as well as the MakeMusic GM Instruments included with Finale's PrintMusic2006, directly -- without the help of intermediaries like SoundFont Synth? If true, that would be great for me -- but I'm finding the LogicXP documentation more than a little inscrutable so far, and can't find the section that tells me in a nice step-by-step way how to do that.
Drabble's SoundFont Synth does come with exactly that kind of step-by-step guide for using the program with GarageBand, which I'll copy/paste here for anyone interested:
==============
SoundFont Synth is an Audio Unit plug-in designed to make the synthesis of
natural instruments using Sound Fonts, available to GarageBand or any other Audio Unit compatible host.
Main Features
1. Uses Apple's excellent DLS synthesizer engine to produce high quality sounds.
2. Uses industry standard SoundFont files (.sf2) thousands of which are widely available for free download from the Internet.
3. Passes Apple's Audio Unit Validation tests.
4. Can use Pitch Bend wheel to control low pass, high pass, band pass and notch filters.
5. Compatible with GarageBand 1, 2, and 3..
Getting Started (GarageBand)
Start up GarageBand and create a 'Software Instrument' track within your
GarageBand project.
Select the 'Track/Show Track Info' menu item to display the track info window.
Select 'SoundFont Synth' from the 'Generator' pull down menu.
Using the button to the right of the Generator pull down, open up the
Audio Unit editor.
The Sound Font field will default to 'QuickTime Music Synthesizer'. If you have
a Sound Font available on your computer then select it using the 'Choose' button.
Select an Instrument from the 'Instrument' pull down menu.
Using an external keyboard or the GarageBand keyboard, play a few notes
in the C3-C4 range to hear the notes play.
=============
And following those excellent instructions I was indeed able to start using the MakeMusic GM Instruments in GB3. But when I wrote the author and asked if he had a version of those instructions written in "LogicExpress-ese", this was his reply:
John,
I wish I could be of help but I have no knowledge of Logic Express or music for that matter.
I am basically a Computer Designer and Programmer.
To make it work with Logic, you need to follow the same procedure, which I assume is documented, as for any "Music Device" AudioUnit.
Sorry I can't be of more help.
Andy.
So, since LogicPro is way out of my price (& complexity) range for this particular project, I'm back to wondering both how and if Express -- either on its own, or in combination with something like SoundFont Synth, will let me incorporate the following elements:
1) some better quality (but still affordable) human voice/choir sounds, such as the ones offered at:
http://www.soundsonline.com/sophtml/details.phtml?sku=PS13,
OR http://www.bestservice.de/detail.asp/en/vocalchoir/extended_classicalchoir/813442a66p249p64p49
2) some ".sf2" files from sources such as www.sf2midi.com,
3) some of the original MakeMusic GM Instrument sounds included with Finale's PrintMusic2006
4) As well as possibly some of the software instruments included with Logic/GarageBand and maybe some of the JamPacks.
Now assuming I'm using LogicExpress, that last one's a no-brainer of course. But I'm still fuzzy on the workflow involving the first three, and they're the ones I really need for this specific project (and that's all this venture into music production is about for now -- I need to get back to what I should be doing, which is the video editing).
So given that this is not something I'm gong to be doing all that often in the future, should I be considering avoiding Logic altogether, and using what some people tell me are much more beginner-user-friendly apps like Tracktion2 (http://www.mackie.com/products/tracktion/tracktion.html), or MetroSE (http://www.sagantech.biz/products/metro6se.htm)?
Would love to hear from anyone who's used either of the above, especially in terms of accessing the kinds of additional software instruments I listed earlier.
[...] One of the problems is that
Logic has no GM soundset, so getting an AU which you
use with both apps is important. EXS24 will load the
soundfonts if they are in the correct folder-you can
leave them or conert them to EXS24 format. So just
mix and layer until things sound good. You can use
Logic for all of this but you sound like you're more
comfortable in Finale. Let me know what you think so
far...
Am certainly comforatble with the idea of composing in Finale, then moving over into something which easily lets me add the specific instruments I want to "upgrade", while still keeping some of the MakeMusic GM sounds from Finale's Instrument List.
But am still unsure about which apps (or combination thereof) I should be commiting to and start mastering the basics of -- something with the right combination of affordability and simplicity to get this specific job done (yet not TOO simple, as in GarageBand's frustrating inability to vary tempos).
And I'm also just still trying to get my brain around Audio Objects vs. Audio Units, and samplers vs. sequencers, and EXS24 vs. EXSP24, and channels vs. tracks, and on and on. Any recommendations of sites with basic "MIDI and the Mac - 101" plain-English primers would also be gratefully accepted!
Thanks,
jb
G5 dual 1.8; FCP 5.x Mac OS X (10.4.4) Mac user since 1990 (starting on a sleek SE/30)

A Choir Query - from FinalePM to GarageBand3 (and back?)

The Challenge:
A Mac-based filmmaker/video editor anxiously seeks advice from experienced users of Finale and GarageBand who know the inner mysteries of MIDI (and may also be proficient with the likes of LogicExpress).
In a nutshell, I'm struggling to understand the simplest way (if there is such a thing) to add some specific non-orchestral sounds to my Finale PrintMusic Instrument List, to beef up the playback of some original compositions.
And failing that, the simplest way to use some of the specific SmartMusic SoundFont samples included with FinalePM in a GarageBand or a LogicExpress project.
The Rest Is Background and Elaboration:
I've spent the past few weeks using Finale's PrintMusic2006 to develop some musical underscores for a short film I'm now editing (using FinalCutPro 5). The simple arrangements I've created using PrintMusic's built-in SoftSynth player and the SoundFont instruments package so far work pretty well as demos to accompany the printed notation, and that was their original intention. But parts of them actually sound not too bad, and are close to being useable for the film itself. So now I'd like to see if I can take the playback aspect even further, and use PrintMusic (either on its own or in combination with other software) to generate a more polished final output.
So far though, my experience with the other music software available to me has been frustrating:
- GarageBand3 will import a MIDI file exported from PrintMusic, but only at a single tempo. This one-tempo-only-per-project limitation is a major roadblock for me, because while this music is hardly sophisticated, it does have tempo variations, as well as key and time signature changes.
- SoundtrackPro, supposedly a higher-end app than GarageBand, won't even import a standard MIDI file. (What's up with that, anyway? I still haven't quite figured out where STP lies on the GarageBand-LogicExpress-LogicPro spectrum.)
- and LogicExpress (which I don't yet own but am testing a trial version of) - aside from being a whole new learning curve I really don't have time to get into right now - doesn't even have basic versions of the software instruments I'm trying to find better quality versions of, such as Harpsichord, Bagpipe (yes, the music involves a very strange mix), and most of all, choral/choir effects (more human-sounding Oohs, Ahhs, Doos, and Mmms, both male and female).
The Arrangements:
The instruments I've used in PrintMusic for playback of the different versions of the film's music are:
- Church Organ,
- Choir Aahs
- Voice Oohs,
- Bagpipe,
- Harpsichord,
- Tubular Bells,
- Woodblock,
- Overdriven Guitar,
- and a couple of bg synth effects.
The organ, harpsichord, guitar, bell and woodblock all sound not too bad in context. The Bagpipe's a bit wimpy, but both it and the Harpsichord are at least better than the ones the Apple apps offer - which is to say, none! And I was especially disappointed to see that even with the addition of hundreds of dollars worth of JamPacks those same apps still don't appear to offer any human voice/choral Software Instrument sounds whatsoever.
I do see such sounds available for purchase at sites such as these:
http://www.soundsonline.com/sophtml/details.phtml?sku=PS13
and
http://www.bestservice.de/detail.asp/en/vocalchoir/extended_classicalchoir/813442a66p249p64p49
(with of course much higher-end and higher-priced options also available).
But the question I'm hoping someone out there can help me with is:
- Can PrintMusic make use of these kinds of samples (either these specific ones, or any other kinds in any other formats -- including the Software Instruments already included in Logic and/or GarageBand)?
- And are there sites from which specific software instruments can be purchased and downloaded a la carte (the same way you can easily preview and then download individual typeface fonts from any number of freeware, shareware, and commercial sites)?
Because even though it's very much a notation program first and an audio-file creation program second, Finale's simple PrintMusic is right now much closer to having the sounds I want for this particular project than the much costlier LogicExpress. But Is there in fact any way to selectively add to the number and variety of Instruments which can be accessed in PrintMusic's Instrument List? And can it utilize additional software instruments such as the choral sounds on Peter Siedlaczek`s "Extended Classical Choir" noted above?
And if (as I just did) I download an ".sf2" formatted sample of a bagpipe, how do I get a Finale (or a LogicExpress for that matter) to actually see the darn thing and make it accessible -- is it as simple as just placing the file in the correct folder? I've scoured the manuals, and I still don't know.
(I see on the MakeMusic site how for the full Finale "exciting libraries of additional instruments are available from Garritan and Native Instruments", which makes me think that instruments in the correct format can indeed be added to a Finale Instrument List -- although things like the Garritan Personal Orchestra package wouldn't help me right now, since the few specific sounds I'm seeking are choral and/or non-orchestral.)
So I'm feeling more than a little lost right now in what seems like a minefield of different and often incompatible synthesizers, sequencers, samplers and samples out there. I'm really hoping someone can at least begin to steer me in the right direction on this question.
Very much looking forward to hearing from you.
Thanks!
John Bertram
Toronto
(Versions of this message have been posted to other online forums relating to Finale, LogicExpress, and MIDI-based music creation on the Mac.)
My system info:
PowerMac G5, dual 1.8 GHz, 3.5 GB RAM, running OSX Tiger 10.4.5
Mac OS X (10.4.5) Mac user since 1990 (starting on a sleek SE/30)

Hi:
Thanks for the reply and the URLs. (And apologies for the late response.)
Here's a summary of what I've been up to on this front:
I downloaded demos of SoundFont Synth (even coresponded with its author), Metro and Traktion. Have also attended a couple of sessions at the Apple Store here in Toronto, and am slowly starting to get a better handle on this whole mysterious world of MIDI, Music, and the Mac.
With the help of one of the Apple Store advisors, I've finally figured out how LogicExpress can indeed "import" (if that's the right term) and use the MakeMusic GM Instruments, as well as .sf2 files I download, as well as (at least in theory) the particular akai-format choir samples on CD which I'm likely to order (URLs for same are in earlier posts).
At first we were doing this using that SoundFont Synth utility you mentioned -- but the sound we got was noticeably inferior to what Finale's SmartSynth produced while within FinalePM. Then we discovered how LogicXP's built-in EXSP24 sampler could translate the "synthgms.sf2" file (located inside Finale PrintMusic2006 / Component Files), along with any other .sf2 or akai-format samples -- and then play them at much higher quality and with of course many more options to adjust and fine tune them.
So it's looking that will be the best (or at least the most direct) route for me to take for now.
Meantime though I'd be interested in hearing from anyone who's used another 3rd party app called Bidule (from www.plogue.com), which was recommended to me by one of the tech support staff at Finale -- though after checking their website I'm still a little unclear as to whether learning yet another program like this Bidule would be worthwhile for me right now.
In any case, thanks again for your help.
John Bertram
Toronto
PS: For reference, here's the description of the EXSP24 Sampler from the LogicExpress Plug-In Reference pdf file:
"The EXSP24 sample player does not allow new Sampler Instruments to be created, nor editing of existing EXS Instruments (apart from synthesis and modulation options). This functionality, including all sample editing, routing, and instrument creation options is only available in the full EXS24 sampler plug-in, found in Logic Pro.
The EXSP24 is compatible with the EXS24, AKAI S1000, and S3000, SampleCell, WAV, AIF(F), Gigasampler, and SoundFont2 sample formats, as well as the Vienna Library, allowing access to large and comprehensive sampler libraries."

Setup for Controlling Articulations (or Patches) as an Interface

Hi,
Here is a new set-up I've created (though, I'm sure others have
done this or similar things before).
The objectives of this set-up are to provide a way to deal with
situations where I have limited processing power and limited
computer memory during the compositional process. This
set-up is not necessarily meant to be used to produce
professional, platinum recordings.
I am new to Logic Pro, so this set-up may have weaknesses and
flaws that I am not aware of; or, there may be a far better way
to achieve the ends than this.
The main concept I am using is that of an interface. An example
of an interface is a light switch on a wall; if you turn it on, the
light goes on, if you turn the switch down, the light goes off.
This is one type of light interface; another might be a chain
you pull; another might be a light dimmer switch.
In this set-up, a multi-instrument is used as an interface to Violins I.
I first began by setting up a new layer in the environment, and I called
it "Violins I Layer".
I then created a new multi-instrument, and labeled it "Violins I". It's icon
box is checked so that it shows up in the arrange menus.
All other objects to be created or used within this environment layer have
their icon checkbox unchecked.
To use Violins I in the arrange window, you simply select it. There is no
hint in the arrange window what the implementation of this Violins I section
is. It could be produced by an outboard sampler, or it could be produced
by Apple's JamPack orchestral Strings, or it could be produced by Garritan
Orchestral Strings (as a few examples). It could even be produced by
a flute patch, but this would simply be confusing to someone trying to
use the overall system.
Because there is no hint in the arrange window as to what actually
produces the Violins I sound, this is one reason I call it an interface.
You know that "Violins I" represents the first violin section, but you
do not know the details of the implementation.
In this example, there will be three implementations of the Violins I
section set up within the Violins I Layer within the Environment. The
three implementations use the following facilities: Garritan Orchestral
Strings (light patches, i.e., less memory patches), Apple's JamPack
Orchestra, and an outboard sampler-player called a Proteus/2.
We can call these three implementations each a "sub-instrumental-box" for
lack of a better name. That is, each implementation will have 16
MIDI channels, so it is like an outboard sampler-player as a stand-alone
box.
The environment will be configured so that only one of these three
sub-instrumental-boxes can play at a time. Thus, you either choose
the Garritan Orchestral Strings (GOS) implementation, the Apple
JamPack implementation, or the Proteus/2 implementation.
You will be able to change the implementation by adjusting a Cable
Switcher within the environment, or you will be able to send a MIDI
program change to the Cable Switcher, where a program change of 0
means the cable switcher sets itself to 0, a program change of 1
means the cable switcher sets itself to 1, and a program change of 2
means the cable switcher sets itself to 2.
If the Cable Switcher is valued at 0, GOS is used. If the Cable Switcher
is set at 1, Apple's Jampack Orchestra is used. If the Cable Switcher
is set to 2, the out-board, Proteus/2 is used.
Each sub-instrumental-box will have, potentially, up to 16 unique sounds.
Each unique sound will be accessed by what channel the input note is
playing on.
Thus, if an incoming note is on channel 1, it will be played arco (regardless
of whether the implementation is GOS, Apple, or Proteus/2).
If an incoming note is on channel 6, it will be played pizzicato (regardless
of whether the implementation is GOS, Apple, or Proteus/2).
Let it be assumed, that the Garritan Orchestral Strings (light) will use more memory
and more processing power than Apple JamPack. Whether it is a significant
difference I do not know. And, of course, the out-board, Proteus/2 uses the
most minimal of computer resources, because it generates its own sounds
externally (though these strings sounds are not very good when compared to
Apple and GOS).
So, the idea of this set-up, here exemplified only in the Violins I section, is that
while one is composing, and adding more instruments, sometimes the limitations
of your computer will require you to "downgrade" from Garritan Orchestral Strings
to Apple's JamPack strings, or even down to the out-board, Proteus/2.
For example, one might already have a sketch of the string section for a
passage, and now one is adding a trumpet; perhaps this trumpet uses
up the next bit of processing power such that the passage no longer
plays correctly. This, one hopes (as this set-up is brand new), could
be alleviated by taking the Violins I (and other string
sections), and switching them to play on the out-board Proteus/2. While the
Proteus/2 strings are poor, they still are strings, and they could play while one
focuses on the trumpet part.
Once I have given more details about this set-up, I will not then go into the
details of how you use the score editor. But, this set-up is meant to be used
with the Score Editor. Let me add these small points of detail about how
this set-up will interact with the Score Editor:
1. Within the score editor, you can select on or more notes, then click and
hold on the channel number in the left pane, and move the mouse up and
down to set all the notes to a given channel (assuming you also hold down
the option key if the initial channels for the notes is not the same).
Thus, you change the channel of the note or notes and their articulations
will automatically be changed from, say, arco to pizz.
2. Within the score editor, you can click in a region between two staves so
as not to select any notes or any staves, then set the default channel to
some value, such as 6, which represent pizz. Then when you enter a new
note using the pencil tool, that note will be associated with channel 6
and thus will be played pizz.
3. Within the arrange window, for a given track using the Violins I multi-
instrument, make sure that the Port is Off, the Channel is All, the Program
box is unchecked, and the Volumn box is unchecked.
In short, you can control the articulations of the notes without ever leaving
the score editor.
There is a down side, however. If you intend to have two, rhythmically
independent lines in one staff, and they are the same articulation (such
as arco, i.e., they are both MIDI channel 1 in this example), then you
will not be able to do so, because Apple has perhaps followed the "Village Idiot"
anti-pattern in some of its work on the Logic Pro application. That is,
this anti-pattern is exhibited when a new concept is introduced, but
instead of defining an interface for this new concept, either lack of funds,
time, or desire, results in the re-using of a previously defined interface
to carry out this new task.
Here is an example. I currently have a kitchen with a light and its
associated light switch. I hire a handyman to insert a disposal within
the sink. The handyman, being short of time, resources, and resolve,
hooks up the disposal to my light switch. Now, whenever I enter into
the kitchen and turn the light on using the light switch, the disposal
also turns on. Instead, the handyman, should have created a completely
independent interface to be used to turn the disposal on and off. Turning
the light on and off is a different concept from turning the disposal
on and off.
The use of the Village Idiot anti-pattern is potentially* used by Apple when it
says that a channel number is used to define one or more independent
lines within a staff. Instead, to avoid this anti-pattern, they would
come up with a new term, "score channel", "staff voice number", or
something, and build an interface specifically related to this functionality.
Then I could have one staff with two voices, each assigned a unique
"stave voice number", and each having an identical MIDI channel
number (because they are both playing arco).
*Note that I specifically say "potentially". I have not yet experimented
with placing two lines on one staff and then testing if I can get them
to play the same musical instrument. Keep in mind, please, that I am
new to Logic Pro. So, the above may be incorrect or incomplete.
My focus right now is to use Logic Pro while composing, and I am not
yet focusing on creating the best, professional looking score as an
end-product.
I've found one instance (though more may certainly exist) where
the village idiot anti-pattern is used. In the score editor, if I use a
user-defined rest (which, by the way, I always try to avoid using),
and then if I rubber-band select a section of the melody, if I try to
adjust the velocity of notes, I also inadvertently adjust the placement
of user-defined rests. The village idiot anti-pattern seen here is that
the exact same interface (moving the velocity value up and down) is
also used to mean the placement of user-defined rests; clearly, it is
best to create a new interface for dealing with the placement of
user-defined rests.
In summary, the possibility exists that in using the environment spelled
out here, the use of channels for articulations may pose problems for
you when you attempt to place two, rhythmically independent lines onto
one staff when these two lines use the same channel number to represent
their articulation (pizz. for instance). Rohan, and other Logic Pro experts
hopefully can confirm or rebut this warning of mine if it is false.
Within the environment's Violins I Layer, the Violins I multi-instrument has
already been created (the steps were given above).
In this example, I am using ten articulations:
Channel Number Articulation
1 SusV Lite (looped): Sustained vibrato.
2 SusNV Lite (looped): Sustained non-vibrato.
3 Grand Detache Lite
4 Marcato Lite
5 Sautille Lite
6 Pizz Lite
7 Tremolo Lite
8 Trills - Half Lite
9 Trills - Whole Lite
10 Stacatto
The articulation names are taken from the Lite versions of Garritan
Orchestral Strings. The Apple JamPack Violins I do not have all
these articulations. And, the Proteus/2 has even fewer. This, however,
will not end everything, for this means that if a sub-instrumental-box
does not have a Grand Detache, that we simply map Grand Detache
to what it does have, which is just a simple arco.
Thus, as less capable sub-instrumental-boxes are used, not only does
the sound quality degrade, but the articulations start to become less
detailed. Here is another example: Proteus/2 does not have a trill,
so its trill is mapped to a simple arco.
In the environment's Violins I layer, here are the details of the multi-
instrument called Violins I: It's icon is checked, its Port is off,
its Program is unchecked, its volume is unchecked.
Create a new cable switcher object using the menu:
New > Fader > Specials > Cable Switcher
Here are the details of this Cable Switcher (shown when you select it):
Output: Switch
Channel: 1
- 1 - : 48
Input: Program
Channel: 1
-1- : 7
Range: 0 127
Value as Number
Filter: Off
Feedback: unchecked box.
I don't know what all the above means, but I do know that it means at least
that the cable switcher will change value when it receives a program (or
patch) change on any MIDI channel (as described earlier): thus, if it
receives a program (or patch) change valued at 0, the cable switcher
will pass everything through the 0 output port.
Now draw a cable between the multi-instrument to the Cable Switcher.
The Cable Switcher is the gate-way to a particular implementation:
the specific sub-instrumental-box that is currently being used to create
the sounds.
Let's work on the first sub-instrumental-box: the Garritan Orchestral Strings.
Create a new Channel Splitter. Draw a cable from the Cable Switcher to
this newly created Channel Splitter.
The Channel Splitter can split an incoming MIDI signal into 16 MIDI channels
(based upon the MIDI channel of the note passing through). This is how
we will control the articulation.
Now, this next part is personal preference. You may have another working
method. But, we now need to connect the outputs of the Channel Splitter
to instruments. I have set up Logic Pro to automatically create 128 audio
instruments for me. For this sub-instrumental-box, I'll be using the ones
that Logic has named: "Inst 100", "Inst 101", ..., "Inst 109". I open up a new
environment window, and I select these ten instruments, and I drag them
to my current, Violins I Layer, and they are moved. I then close the
environment window I just, newly opened.
Back in the Violins I layer, I connect output channel 1 of the Channel Splitter
to Inst 100, and output channel 2 to Inst 101, and so forth, until I finally connect
output channel 10 to Inst 109.
For each of these ten instruments, I click under the "I/O" label, and bring up
the EXS24 sampler, and from there grab a specific Garritan Orchestral
Strings patch, such as "SusV Lite". Note that the specifics of how Logic Pro
converts the gigasampler format that GOS came in to a format Logic Pro
understands are not detailed here.
This completes the first sub-instrumental-box. (Other details not mentioned:
each instrument was sent to one bus to make mixing a little easier; but,
you can leave these set to outputs 1 and 2 if you wish).
If you send in MIDI notes on channel 1, they will sound as sustained, vibrato.
If you send in MIDI notes on channel 4, they will be marcato, and so forth.
Note, by the way, the "power" of being able to select a specific file having
the specific articulation I desire. Now I am in complete control as to how
this specific articulation will be played. But, if these articulations were
bundled within only one file, where I was forced to either send key-switches
or continuous controllers to activate either arco, marcato, termolo, and so forth,
then I would not have this kind of flexibility and power. By the way,
GOS lite sounds also have key-switched patches for those who like to
play the notes at the keyboard; but, in this instance, GOS also has flexibility
in that I am able to ignore the key-switched patches, and use the specific
files each containing a specific articulation. Apple also has a similar
flexibility: for Apple JamPack, you can use continuous controller 4 to
change articulations for some of the patches, or you have the choice
of loading each individual articulation from a specific file set (which is
what will be done in this example).
The next step is to create the second sub-instrumental-box implemented
by the Apple JamPack orchestra's Violins I sounds.
Create a new Channel Splitter. Cable the Cable Switcher (there is one free
node on it) to the new Channel Splitter. Apples Violins I have the following
articulations: Legato, Pizz, Tremolo, Trill Half, Trill Whole. For staccato,
we will load the Violins II staccato patch. By the way, I forgot to mention
that in the GOS, there is no staccato patch for Violins I, and I did a similar
thing, I loaded the Violins II staccato patch to be played by the Violins I.
Now I need some audio instruments to be connected from the Channel
Splitter. Open a new environment window. Drag over "Inst 110",
"Inst 111", ..., and finally "Inst 115".
Cable Channel Splitter 1 output to Inst 110. Set Inst 110 just under I/O to
Violins I Legato. Cable Channel Splitter 6 output to Inst 111 and just
under I/O set it to Violins I pizz. And so forth, using up a total of
6 channels to six instruments of Apple's JamPack strings.
Now, there are some output channels from the Channel Splitter that
are not used, because there is no corresponding patch in the
Apple JamPack. Simply map these to the closest match you can find.
Thus, output channel 2 of the Channel Splitter is patched to
Inst 110 which represents legato and is the closest representation
of "sustained, non-vibrato."
Also, output channel 3, Grand Detache, is linked in an identical fashion,
because plane legato is the closest match.
Output channel 4, which should represent marcato, is mapped to
Inst 112 (staccato), as that is a somewhat representative match-up.
And, you continue in this fashion, mapping the best you can. Remember,
Apple's JamPack does not have the many articulations of GOS lite
patches, it is a specific implementation of the interface. And, the
Apple JamPack will degrade in sound and in the number of unique
articulations, but, theoretically, use up less processing power from
the computer.
Note that you can now click on the Cable Switcher to toggle between
the two sub-instrumental-boxes we have just created. When the
Cable Switcher has "0" written on it, you hear GOS. When the
Cable Switcher has "1" written on it, you hear Apple JamPack.
And, when we are finally done with the steps to follow, when the
Cable Switcher has "2" written on it, you hear the out-board sampler
Proteus/2.
To create the third and final sub-instrumental-box, create a new
Channel Splitter. Cable the free node from the Cable Switcher to
this new Channel Splitter.
Create one new instrument (not a multi-instrument) and label it "Arco Violins".
Create another new instrument and label it "Marcato 2". Create another
new instrument and label it "Pizz Violins". Create a final instrument
and label is "Trem Strings". Obviously the Proteus/2 is not as sophisticated
as either Apple's JamPack or GOS in that there are not necessarily
specific Violin I patches only; so, I tried my best and used "Marcato 2"
for example, even though this is for the entire string family.
The details of each instrument is now given (remember, that some of these
details related specifically to the out-board sample-player, Proteus/2):
Arco Violins:
Port: Port A
Channel 1
Program: box checked - 7.
Volumn unchecked.
Pan unchecked.
Transpose 0.
Velocity 0.
Key Limit C-2 G8
Vel limit 0 127
Delay 0
No Transp. unchecked
No Reset: unchecked.
Style: auto
Marcato 2:
Port: Port A
Channel 4
Program: box checked - 9
Pizz Violins:
Port: Port A
Channel: 6
Program: box checked - 15
Trem Strings:
Port: Port A
Channel: 7
Program: box checked - 18
In the above listings, the Program has its box checked,
and the number which follows it is the specific patch or
sound containing the articulation I need to be produced
by the Proteus/2.
One can now click on the Cable Switcher and activate
one of the three, specific implementations of "Violins I".
You can also send in a program change through MIDI
to accomplish the same thing. However, it is always
possible that if you change the implementation in the
middle of a phrase, that the note off signal for the
last note played by the previous implementation might
be sent to the different, current implementation, with the
net result that the note never turns off.
Now that you have the Violins I layer in your environment,
here are some issues and some questions I'm thinking about (and don't know
the immediate answer to):
1. The GOS sub-instrumental-box used 10 EXS-24 audio-instruments, how
much memory was that exactly?
2. Apple's JamPack adds an additional 6 audio-instruments. How much
additional memory does adding JamPack produce?
3. If my G4 Macintosh has 1.5 gigs of memory, do I care? Is Apple's
Logic Pro program smart enough not to keep these sounds in memory
if they are not used? Or do these sounds always reside in memory?
4. To conserve memory, is it smarter to load Apple JamPack instruments
through the ESX-24?
Thanks,
Sys6
G4, 1.5 gigs of memory Mac OS X (10.4.8)

wow! What a post!
Your way of "articulation switching" is very similar to the articulation tool I'm currently using, created by a member named kai. To find out more about his tool and its uses, visit the quick tip post I created: http://proapptips.com/tips/article.php?story=2006092810303559
edit: It turns out the link I provided in the tip has been changed, so if you want to download the tool and its manual, visit http://www.elvenmusic.com/vsl/vsl.html and scroll to the bottom.
Now, as for your concern of scoring two independently rhythmic parts with the same articulation in the score editor, there is a simple way around this problem. Simply add another track using the same Violin I instrument in the arrange page, which will give you 2 tracks in the score editor. This may not be the best scoring solution, as you will now have 2 violin staffs for divisi violin parts, but it will work fine while composing and you can merge the two when focusing only on the score.
Also, I'd like to point out a memory saving tip you will find helpful. First off, its impossible for you to apply your technique for every instrument of the orchestra, as logic limits you to 128 instruments at one time, and given that an full orchestra can easily use 30-40 instruments, you will not be able to load 32 articulations for each instrument (16 GPO instruments and 16 jampak instruments). Realistically you will only be able to load about 3-4 articulations for every instrument. However, logic does not have any limit for instrument OBJECTS, thus you can create "slots" where particular articulations may go, and turn the instrument to "off" and simply load each articulation as needed. Whats cool about this method, is that for the most important articulations that you always want on call, load them up in EXS first, and then turn off the object in the environment window. Now whenever you need that articulation, simply turn on the object to its proper instrument number and the associated instrument patch and EXS instrument will be loaded automatically! Cool huh! You can also open link your environment window to update its data to any other window using the "chain" icon. For example, you can have your arrange page open on on side of your monitor, and your environment window open on the other, and whenever you select violin one, the environment goes to your violin I object, allowing you to quickly add more articulations to your open slots when needed (I have mine on a 2nd monitor, which saves me from having to constantly open the environment when I want to add an articulation).
In answer to your other questions, if you are curious about how much memory your samples are using, run apple activity monitor before you load a sample, and after to get a rough estimate. Make sure to check how often the activity monitor checks ram, as its default may be 5min (dont remember), and keep in mind individual instruments are not that big, its when you load 20-30 that it starts to add up.
As for your 3rd question, logic will keep everything you load in its memory buffer and/or use CPU to keep it ready to go. Each exs you load, even if you dont select a patch, uses computer resources. Thus my recommendation of turning your objects to "off" and only loading articulations as needed.
I dont have apple jam packs, so I cant answer #4. However, you could test it yourself using activity monitor above.
Well done in your implementation of these concepts on your own! I personally had no clue any of this was possible before I stumbled upon Kai's articulation tool. Now that I have, composing with large sample libs as proven a much more enjoyable experience!
All the best, and thanks for sharing this with the logic community!

Can I Automate CC1 for an EXS24 instrument?

I have automated some volume curves for an orchestra piece I am finishing off. My problem is that for some of the string tracks I am using the Garritan Orchestral Strings, which use Modulation (CC1) for both volume and expression, so I would like to copy the volume curves from the other instruments and apply them to the GOS tracks as CC1 curves. Is that possible? Can the EXS instruments automate CC1 data?
I looked at the EXS documentation, and am a bit overwhelmed at the 10 Modulation sets that are provided, but I don't see that any of them are MIDI Modulation (i.e. CC1). Am I missing something?
I tried drawing in the CC1 Curves in HyperEdit with the mouse, which was pretty frustrating. I got some sorta usable curves, but it took a lot of time and the results weren't really stellar.

Yup, you got it.
I'm recommending the 6dB lowpass filter because it's the most gentle in terms of rolling off high end.
• turn the filter on
• turn "fat" off (if it's on)
• turn drive all the way down (unless you want some dirt!)
• set the filter's "key" (key tracking) parameter to 50
• select the 6dB filter (below the key knob)
• bring the filter's cutoff frequency down as you're playing and set it to the "dullest" you'd ever want the sound to get when playing at low CC#1 settings
• set the EXS's 2nd mod matrix slot (as you detailed in your post)
• set the modulation amount to zero for starters
• move the mod wheel fully up
• adjust the modulation amount to the brightest you'd ever want to hear the sound when CC#1 values are at their highest. Caveat: listen carefully as you're performing this step; make sure that you don't select a value that's too high for this modulation, because if you do, the brightness will get too bright too soon
HTH

Choices in Expanding My Processing Power

Hi,
I'm considering choices in expanding my processing power. Unlike those
who only own Logic Pro (which only works if a dongle is inserted), I own
Logic Express and I have upgraded to Logic Pro. This means, when considering
the equation for expanding my processing power, that one option is to buy
a new Macintosh computer and install Logic Express on it and use this
external computer as an external musical instrument.
So, there appears to be two ways to expand my meager G4, 1.5 gigs,
Mac OS 10.4.8 system:
1. I can buy an external box, probably one that plays EXS-24 samples, or
2. I can buy another Macintosh computer (probably a lower-end computer,
but it would have 1.5 to 2.0 gigs of memory, it would have at least one
intel duo processor).
Does anyone have any suggestions on how they've expanded their system
to perform more musical instruments in the orchestra? Specifically, I'd
probably off-load my Garritan Orchestral Strings (using the lite versions)
to this new outboard box or computer as EXS-24 samples.
Are there any surprises in store? For instance, if I buy an outboard,
non-computer, but an actual sampler-player, is it relatively easy to copy
ESX-24 samples that my Mac has converted from gigastudio format
to this external musical playing box?
Right now, I'm leaning towards simply buying another Mac and installing
Logic Express on it. Since Logic Express has a Channel Splitter in the
environment, I should at least be able to get 16 articulations out of this
one Mac computer.
Thanks,
Sys6
P.S.
Jonathan, thanks for your response to
http://discussions.apple.com/message.jspa?messageID=3436479
I will in the relatively near future, have more questions, as I investigate
in more detail your ideas. Thanks much.

Hi,
Since I posted this question, I've been reading pertinent sections
from Paul Gilreath's The Guide to MIDI Orchestration, 3rd Edition.
I'd like to restrict my above question to an "older" set-up. That is,
assume that I will buy an external computer to use as an out-board
player (that is, it will respond to MIDI and create the sounds of, say,
the string section); and, assume that I will be using MIDI interfaces
or USB MIDI interfaces to carry the MIDI signals. All audio signals, both
from my main, old computer and the new external playing-computer
will go to simple mixer and then out to my speakers. Keep in mind that
this set-up is just for live, fast feed-back while composing (bouncing
is quite a time consumer).
So, do any of you out there use an extra computer (or two) simply
to play back more sounds? Or, do you primarily just bounce within
Logic using one computer?
And, this is my fundamental question:
If you bought a new computer, what brand, and what software would
you run on it?
My virtual orchestra is gradually growing and now consists of the
following:
Apple's JamPack Orchestra (but, as I explore, I find it not a real solution).
Westgate Studios: Woodwind Collection, Expanded Edition, $200
Garritan Orchestral Strings: I use the lite patches to save memory and
processing power)
Pro Sessions Orchestral Brass (based on $1,000 Sonic Implants brass), but is a much reduced edition for only about $100 (and has limited solo instruments).
Apple's EXS24 trumpet and trombone.
Westgate Studio's free Trumpet I downloaded.
However, even the above "low-endish" orchestra uses up more computer
processing power than I have if I want to hear the orchestral score "live"
(that is, in real time as I write the music).
Thanks,
Sys6

Garritan Orchestra sounds

Similar Messages

Maybe you are looking for