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autoharp
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« Reply #15 on: 18:59:29, 15-05-2007 » |
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 Shall I dig my hole deeper ? |
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Bryn
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« Reply #17 on: 19:24:25, 15-05-2007 » |
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Not just down to the quality of your speakers. I listened to the Real Audio versions and the data compression made each of them sound very unnatural. THey are, in effect, all 'electronically produced'. The Norrington clip has some very nasty digital artefacts at the start. If you listen to the 'full' version of the faux orchestra, the opening notes of that sound distinctly fake.
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Jonathan
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« Reply #18 on: 20:53:46, 15-05-2007 » |
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I got it worng as well!  I actually have a recording that is digitally produced of Sgambati's 2nd symphony (a work that has never been recorded by a 'live' orchestra) that I got from eBay months ago and I can't tell it's digitally generated! |
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Best regards,
Jonathan
*********************************************
"as the housefly of destiny collides with the windscreen of fate..."
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burning dog
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« Reply #19 on: 20:59:44, 15-05-2007 » |
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Not just down to the quality of your speakers. I listened to the Real Audio versions and the data compression made each of them sound very unnatural. THey are, in effect, all 'electronically produced'. The Norrington clip has some very nasty digital artefacts at the start. If you listen to the 'full' version of the faux orchestra, the opening notes of that sound distinctly fake.
I'm sure you are right, I've just checked back and the Norrington was the other one I thought was dodgy. |
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oliver sudden
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« Reply #20 on: 21:47:24, 15-05-2007 » |
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Not too tricky although I think if I'd used speakers rather than headphones it might have been a bit more confusing.
They certainly picked the right bit of it to compare - as Bryn mentioned, the beginning is rather clearer, and the bit after the clip has some rather tasteless articulation from the 'clarinet' and 'horn'. It's frighteningly good though and these things are only going to get scarier!
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Bryn
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« Reply #21 on: 22:56:11, 15-05-2007 » |
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When I was a young teenager I aware enough of the way music technology was advancing. There were no 'synths' then, but the aim of building complex timbres from a set of stable oscillators was off the ground, if not common practice. I thought it would be great to be able to write orchestral music that could be manifested entirely by electronic means. Now I feel just the opposite. Now I crave the 'human element' in social music making. Damn it, in few years' time we'll have conduct-it-yourself 'recordings' of Mahler symphonies which you control by the use of hand gestures.  |
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Reiner Torheit
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« Reply #22 on: 22:59:14, 15-05-2007 » |
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Damn it, in few years' time we'll have conduct-it-yourself 'recordings' of Mahler symphonies which you control by the use of hand gestures. I believe Gilbert Kaplan has already pre-ordered his complete set from Amazon |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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harmonyharmony
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« Reply #23 on: 23:09:38, 15-05-2007 » |
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Damn it, in few years' time we'll have conduct-it-yourself 'recordings' of Mahler symphonies which you control by the use of hand gestures. Apparently, we've got a PhD student here in Durham whose been working on that one, and the algorithm that takes the piano out of the piano concerto. He's been working on it for a while, so don't hold your breath. |
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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Colin Holter
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« Reply #24 on: 02:43:51, 16-05-2007 » |
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I got it right, but I think I might have just gotten lucky. (I was listening on my iBook's awful built-in speakers; unfortunately, my hotel room in Dayton didn't include near-field monitors.) Something about the clarinet's tone tipped me off - too-similar spectra across registers, maybe? I bet Ollie or somebody could hazard a better guess.
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Reiner Torheit
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« Reply #26 on: 11:30:03, 16-05-2007 » |
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Oooooooooooh, yes, Tim... that opening chord is a dead give-away. There's also some rather horrible spiccato later and some grotty woodwind chording, amongst quite a few other indiscretions... and an overall "tick-tock" feeling to the beat that even a good school orchestra would better.
Even so, it's quite frightening what is possible... this is clearly going to continue to develop.
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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oliver sudden
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« Reply #27 on: 22:55:54, 16-05-2007 » |
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Something about the clarinet's tone tipped me off
It wasn't the registral difference in particular - I'm sure every note on the instrument has been sampled for the computer version, which wouldn't take long to do. But I do know what that slur to high C feels like. Maybe that tipped me off.  Note endings had a lot to do with it. 'Phrasing-off' is a very important thing and that would be tricky to simulate - especially exactly what a player would do while breathing in that phrase. Indeed doubtless some time would be taken. Something else tricky to do. |
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