Stunning! And so many different patches throughout! This piece seems to have a thousand incipt of the theme (that ta-taa, G -> C), you managed to give almost all of them a different quality. Must have been a lot of work :)
Thanks Orzomondo, big time! This comment means a lot to me. Spent months on it and many times given up in frustration. Anyway, it's been worth the effort and the best realisation so far but as you know, now that it's "finished" I hear bits that could have been done better. Thanks so, so much.
Hi Graham, thanks for this treat of an upload! Firstly, the attack phases of the amp envelopes were superbly judged and executed; then there was all that fine pointing of the melodic detail - I can't praise it enough, it was....delicious! So much else deserves mention, but all in all, it was delightful. Happy New Year!
Hi Karl, Happy New Year! Thanks so, so much for noting these details. I used 50 patches and bar for bar this piece has had the most tlc and elbow grease so far. Repeated binaries are definitely a challenge. Thanks again.
As usual, so entertaining and invigorating! I would love to play this piece, but the tempo required surpasses my poor technical gift :-( Your phrasing and choice of patches is impeccable!
Thanks so much, Andreas. It's a difficult one for a lot keyboard players, myself included. Those broken tenths give it a swing feel which I don't think he replicated anywhere else.
Thanks so much for your efforts. I'm very curious as to how you are able to recreate the human voice with your instrument - is it just trial and error, are there algorithms designed into it, etc? The resemblance is uncanny.
Well, I'm using Logic Pro X which has many vocal presets of which there are 357! Often these are mixed with an instrumental patch to help with legato and then I work on every phrase and individual notes for dynamics and relation to the other parts. Every note is nuanced as one would for a "real" performer. It often take many hours and is in fact the exact opposite of trial and era. It's more the mindset of aiming for the feeling of a real/spontaneous performance. Thanks so much for your comment and interest.
Stunning! And so many different patches throughout! This piece seems to have a thousand incipt of the theme (that ta-taa, G -> C), you managed to give almost all of them a different quality. Must have been a lot of work :)
Thanks Orzomondo, big time! This comment means a lot to me. Spent months on it and many times given up in frustration. Anyway, it's been worth the effort and the best realisation so far but as you know, now that it's "finished" I hear bits that could have been done better. Thanks so, so much.
Hi Graham, thanks for this treat of an upload! Firstly, the attack phases of the amp envelopes were superbly judged and executed; then there was all that fine pointing of the melodic detail - I can't praise it enough, it was....delicious! So much else deserves mention, but all in all, it was delightful. Happy New Year!
Hi Karl, Happy New Year! Thanks so, so much for noting these details. I used 50 patches and bar for bar this piece has had the most tlc and elbow grease so far. Repeated binaries are definitely a challenge. Thanks again.
As usual, so entertaining and invigorating! I would love to play this piece, but the tempo required surpasses my poor technical gift :-( Your phrasing and choice of patches is impeccable!
Thanks so much, Andreas. It's a difficult one for a lot keyboard players, myself included. Those broken tenths give it a swing feel which I don't think he replicated anywhere else.
Great!!!
Thanks so much, Happy New Year.
wonderful! Happy New Year!
Thanks again! Happy New Year!
This is excellent! ❤
Thanks so much and Happy New Year, ShyHunter.
Thanks so much for your efforts. I'm very curious as to how you are able to recreate the human voice with your instrument - is it just trial and error, are there algorithms designed into it, etc? The resemblance is uncanny.
Well, I'm using Logic Pro X which has many vocal presets of which there are 357! Often these are mixed with an instrumental patch to help with legato and then I work on every phrase and individual notes for dynamics and relation to the other parts. Every note is nuanced as one would for a "real" performer. It often take many hours and is in fact the exact opposite of trial and era. It's more the mindset of aiming for the feeling of a real/spontaneous performance. Thanks so much for your comment and interest.
@@grahamcaldecott Thanks again