Fast
Runs Tutorial
Here
is an example of a Major Run using GOS:
Major Run mp3
The same principals below
also apply to GPO. For an example of runs unsing GPO using the techniques
below with trills,, listen to the "Flight
of the Bumblebee" Demo.
How
It Was Done:
Here
is the MIDI file that was used for this tutorial: Major
Run MIDI
This
is an example of a straightforward, simple one octave major scale run.
It originally used two instruments: One for the run itself and one for
the initial "bite" of the bow on the first note. For the purpose
of this tutorial I've added a third instrument to blur the note transitions.
The instruments to load are:
MIDI
Channel 1: 1st Vln Marcato up/dn ALT VAR1 (run)
MIDI Channel 2: 1st Vln Sautille mf up/dn ALT VAR1 (first note)
MIDI Channel 3: The Slides Toolbox (blur)
The
demo was created as follows:
- The
tempo was set to about 100bpm. The scale was recorded into MIDI channel
1 by playing it freely from the keyboard to ensure that the run wasn't
too perfect in execution (never enter it quantized as equal note values).
Little timing discrepancies are the stuff of life for this kind of
thing.
- I
copied the track to MIDI channel 2 and deleted all but the first note.
The Sautille is layered to add the extra "bite" to the first
note of the scale. Be aware that the level of the Sautille note was
raised (since it is normally a fairly quiet articulation.)
- I
edited the velocity values in MIDI channel 1 to be strong at the beginning
and then drop off and build to the end of the phrase (see screenshot
#2. The blue area below the piano roll notes chart velocity). This
gives momentum to the execution of the scale.
- I
set the tempo to 390bpm after recording.
- The
above is how I created the original demo but I've added something
new to this by using a feature that wasn't present when the original
demo was created: The Slides Toolbox. I've copied the marcato track
data to the Toolbox channel and omitted the first note from the track
because the slide starts below the pitch of the first note. The last
note has been shortened and cc#11 data has been drawn in to more clearly
define the last note of the run (see screenshot #3). Playing rapid
scales with the slides creates a kind of smooth gliss due to the slide
motion and the overlaps. I also added some mod wheel (cc#1) data to
show that choices can be made between the available slide intervals.
When carefully layered under the run slides can greatly aid the illusion
(see #2 below) by adding some ambiguity to the motion. You could also
experiment with sliding the track earlier in time relative to the
other tracks for different results. Using the Slides Toolbox has become
my favorite trick for runs.
- Relative
volume levels were adjusted using cc#7 data placed at the beginning
of each track.
Here is a screenshot for an overview of the tracks.
There
are many other techniques that could be applied to the construction
of scales. Here are some things to think about:
- A
run can be either played using many notes per single string (with
rapidly
changing left hand finger positions on a single bow stroke) or with
rapidly alternating up/down bow strokes. The note transitions are
usually fairly smooth for the former and more articulate for the latter.
- In
any group of players the individuals will be moving from note-to-note
at slightly different times from one another. This "blurs"
the note-to-note
transitions.
Some
other things that can be tried:
- Keep
in mind that you can use GPC-1 (cc#16) to control the sharpness of
the attacks for the VAR1 short bows. This can help you adjust the
smoothness of the short bow run. Also, the standard short bow instruments
use GPC-8 (cc#83) for length control. This is a fairly subtle control
but worth trying while attempting to determine the best note-to-note
transitions.
- Try
layering a couple of instruments for the run, one for smoothness (perhaps
an LEG long bow with the LEG feature activated during the run) and
one for definition - like Marcato or Spiccato or Sul Tasto short bow
(listed here in order of decreasing aggressiveness). Use the LEG as
your primary
sound and adjust the layered short bow to best effect. The strength
of the LEG masking samples can be adjusted with GPC-5 (cc#80). Try
the short bows with and without ALT. Layering can help simulate individual
players moving at different times from note-to-note (see also #3 below
for another element in this characteristic).
- You
may wish to play each layered part separately. This will help create
"human" variations between the two layers plus different
overlaps. In other words: Don't just copy the same part to a second
track. Slow the BPM if necessary during recording; return to the original
tempo upon completion.
- Where
the VAR1 instruments give you control over the sharpness of attacks
(GPC-1, cc#16), the VAR2 instruments tie sharpness of attacks to velocity
values - lower velocities give softer, smoother attacks; higher velocities
give sharper, more accented attacks. VAR instruments also dispense
with the "length control" feature and tie duration directly
to MIDI note length. Some find this a more convenient way to control
note overlaps. You may find some of the VAR variability features useful
as well - like the GPC-7 (cc#82) control of "rosin on the bow"
brightness.
- If
the runs aren't too fast you might want to try using the new REL release
trigger long bow instruments. The release samples create a different
sound to runs because of the overlaps created by the release trigger
samples. The release samples can be switched off remotely at any time
using cc#94.
- As
mentioned by many others on the forums, try layering one of the trill
patches with the main instrument you are using for the run. Using
these is another way to help blur the transitions and add to the illusion
of many separate players moving at slightly different times. Check
out the Simon Burgess demos on the GOS site at http://www.garritan.com/mp3.html
to see just how effective this approach can be (hint: VERY). Simon
(Hasen) also gives a brief explanation of this in the Tips and Techniques
section of the site under the title, "Playing Very Fast Passages
(by Mixing in Trills)."
- If
you have the capability to automate parametric EQ you can also selectively
reduce the energy in the 2k to 5k area by a couple of db. This can
help with the illusion of smoothness. Apply it only during the run
itself.
Logic
Audio Users
The
following Screenshots shows the tracks, port-channel assignments, instrument
names, and Matix display for each of the tracks.
Here
is the Logic Environment file
of the above for those who use Logic.
