first of all, thanks for your comments. Surely “Churches Of Umbria” has a much less conventional arrangement
than “La Rosa dei Venti”, so I understand how can displease the audience. Also, I’m a completely self-taught musician, with no theory basis, so unusual things are the norm for me
if you mean you would like to have the actual WAV samples I used to compose the track, I unfortunately cannot
provide them since they are part of East West “Quantum Leap Symphonic Orchestra XP Gold” (EWQLSO below) and Garritan solo
strings libraries, so they cannot be freely distributed.
if you mean you would like to hear per-instrument dedicated OGG samples of a scale, or something like that,
it would be indeed interesting to provide them; my only problem is the time that such a task would require.
anyway, provided that you have at least one of the libraries above, I can publish the XRNS file, no problem with
that, really. on the contrary, I would be happy if people would learn how to use Renoise at fullest, which is indeed
required to achieve such results, way more than highly requested features such as arranger are.
Both EWQLSO and Garritan libraries need some practice to be mastered; the difference between “Churches of Umbria”
and “La Rosa dei Venti” is also in the experience I grown in between. Summarizing, both libraries provide at least
- vibrato (tipically controlled with MIDI CC#1)
- expression (MIDI CC#11)
- sustain (MIDI CC#64)
no realism can be obtained without working on these parameters almost continuosly.
for example, even the vibrato
should not be constant during play of a single note (a little flaw about this is noticeable in “Churches of Umbria”
string solo sections).
some very good advices have come from NeuRoTiX and his wife, who are both experienced classical music listeners;
they made me understand how much expression is important, and made me notice, during the making of “Churches of Umbria”,
how much my string ensable sections where lacking on that.
basically, a string ensemble should always start with a low expression, reach a maximum, and then fade out not abruptly.
this is of course not a general rule, but improves things most of times.
is good to take sustain in consideration too: for example, in some parts where solo strings perform very long notes,
sustain is used to emulate the bow side change.
These advanced sound libraries then come in your help by giving you other great goodies such as sample repetitions,
which ciclically (or less frequently randomly) change the played sample with a similar one, giving more humanization
to the sound. however, it is always good to give a picky and continue attention to velocity variation. unfortunately,
Renoise does not currently support MIDI aftertouch (Garritan libraries do support them instead), so this task must
be performed with a bit more work by you.
summarizing, achieving such results using “raw” samples is almost impossible. Renoise’s built-in sampler at the moment does
not provide enough features to achieve this. more features will come on this side, but don’t expect it to overcome
Native Instruments Kontakt 2 scripting, which is at the basement of all the libraries I use.
I strongly suggest you to give a look at these libraries and see if they fullfil your needs.
EWQLSO comes also in a “Silver”, much cheaper flavour