|
I have a dumb question. I write electronic/video game music in a sequencing program used mostly for sheet music creation called Sibelius (one day I'll upgrade to whatever professionals use, but for now using this is the best way I know to be productive). It's working out okay generally, but recently I've got this melody stuck in my head for a track and I'm hearing it as a real stinky, edgy tenor sax solo. Unfortunately the tenor sax sound in Sibelius is a loving joke, unsurprisingly, so there's no way I can use that. However, I've found that I can whistle the melody and make it sound pretty much exactly like I want it to, with grace notes, vibrato, and other stylistic stuff that would be super hard to program into the actual music. So my question is: Do you think I could whistle the melody, then take that audio into something like Audacity and gently caress around with it until it either sounds like a tenor sax or just like a cool synth in general, and then mix it all together for the final product? Or will it just sound like hosed up whistling sounds no matter what I do to it? If this is a viable avenue to explore, what kind of effects could/should I mess with?
|
#
¿
Apr 22, 2021 21:07
|
|
|
|
| # ¿ Apr 29, 2024 05:17 |
|
|
 I think this will do quite nicely. Thanks everybody for the responses!
|
|
#
¿
Apr 22, 2021 23:30
|
|
|
timp posted:I have a dumb question. I write electronic/video game music in a sequencing program used mostly for sheet music creation called Sibelius (one day I'll upgrade to whatever professionals use, but for now using this is the best way I know to be productive). It's working out okay generally, but recently I've got this melody stuck in my head for a track and I'm hearing it as a real stinky, edgy tenor sax solo. Unfortunately the tenor sax sound in Sibelius is a loving joke, unsurprisingly, so there's no way I can use that. I'm here to provide an update—I went ahead and just paid a real live tenor sax player to play the part  But I still don't regret spending a lot of time on my whistle-sax track, because I was able to give it to the player as a style emulation guide of sorts.So now I have this nice, high quality tenor sax line that fits over my electronic funk ensemble. The thing I was sorta worried about has already happened, where the comparative sound quality of the real sax is wiping the rest of the track right out of the frame, so to speak. Could anybody share any quick tips on EQing a live instrument to fit better with electronics? I imagine I need some degree of compression, some reverb and/or delay, and probably other things that I wouldn't even know to mention.
|
|
#
¿
May 7, 2021 14:51
|
|
|
Pollyanna posted:Dunno where to post this, so I figure I'll try here. I can't help you but IMO just record that for 25 minutes and call it Piano Phase 2: Phase Harder
|
|
#
¿
Oct 21, 2021 15:56
|
|
|
pseudorandom posted:Sorry if this has already been answered, or belongs someplace else, I didn't see anywhere better in my brief searching. I know this is low effort but to get you pointed in the right direction: what you want to learn about is Music Theory. As for it having more of a mathematical bent, I learned most of what I know about sound in physics class, not music!
|
|
#
¿
Apr 4, 2022 04:07
|
|
|
nine16thsdago posted:so it seems like the bass staff is what i should play, except 8va? if so, why not just write that? As an idiot composer, may I posit that the composer is just an idiot?
|
|
#
¿
May 18, 2022 02:13
|
|
|
TooMuchAbstraction posted:Thanks! I don't mind making a one-off purchase if it'll get me better tools/instruments, though, in case that changes anything. I use Sibelius and have for about 15 years now (officially switched in college). I believe right now you can get a subscription to Sibelius Ultimate for $199/yr, and they also offer a free trial. I find Sibelius pretty easy to use (especially if you commit to learning and using all the keypad shortcuts) but I don't know if that's just because I've been using it for a long time and am used to it, or if it's actually a desirable tool for someone new to digital sheet music and playback. There may very well be better options out there these days! Just be sure to avoid Finale—between Sibelius and Finale, Sibelius is the better choice by a mile imo.
|
|
#
¿
Jun 13, 2022 16:52
|
|
|
Lily Catts posted:Is there a term for when a song has one instrument performing an ostinato at the start, and another one joins, and another one, until everything ties together (bonus points if it ends with the same instrument it started with)? I want to say it's a structure thing but my music vocab is limited. Minimalism! https://en.m.wikipedia.org/wiki/Minimal_music
|
|
#
¿
Nov 23, 2022 17:40
|
|
|
Xiahou Dun posted:OP's a grown up and can clarify for themselves, but my understanding is they mean something more like this version of Mamzelle Kennedy or this amazing but very long medley. Where you start off with minimalist instrumentation and keep adding more as the tune builds. (The repetition in those links isn't minimalism. Just a lot of trad tunes are 16 bars long or so and it's normal to play them several times in a row.) Fair enough! Upon reading your post the word "madrigal" popped into my head, I guess from half-remembered Music History college course lectures. From what I remember it's basically like a single vocalist sings a phrase, then repeats it with a second vocalist's counter-melody added, then another adds on, then another, etc. The song "We Don't Talk About Bruno" culminates in a madrigal (a nod to the family's last name) That being said, after skimming the wikipedia article it doesn't really say much about repetition. https://en.wikipedia.org/wiki/Madrigal and that's about as much research as I can do on this topic right now!
|
|
#
¿
Nov 23, 2022 20:41
|
|
|
Xiahou Dun posted:Can someone smarter than me explain why double sharps are a thing? It's for when you're in a key with a lot of sharps (G# for example) and you want to specify that your intention as the composer/engraver/whatever is to nudge the note up a half step. If we're talking about the 7th scale degree in G# minor that'd be an F#, so since it's already sharp you now have to make it double sharp. I've been tempted to use double flats and sharps in situations like this before but then I always remember how eyeroll-worthy it is and end up just respelling the note. Hawkperson posted:For me personally, the most common situation I've seen it in is fast runs like in complex flute music. In cases like that it's easier to parse a run when as many of the notes as possible have unique positions on the staff. Say I had a run in a minor key with lots of sharps that included E#, Fx (G), and G#. Honestly either way it's a pain in the rear end and most editors would probably mark it as G natural, but one way displays the flow of the line a little better. Even in that case by "more common" I mean "I think I've seen it in printed music twice in the 20+ years I've been playing flute" Exactly right. You don't want to be constantly adding accidentals to every note if you can help it, and sometimes a double flat or sharp can help you avoid having to do that, like in a trill or a run. But still, probably better to look for another solution first. timp fucked around with this message at 04:53 on Dec 30, 2022 |
|
#
¿
Dec 30, 2022 04:49
|
|
|
Lester Shy posted:Can anybody help me understand what's going on with the vocal harmonies in the chorus here, specifically the "Don't allow" "Kyoto now" parts? Sounds like parallel fourths to me! If I'm right tha on the bottom is an A going up to a B, and on top is a D going up to an E. Edit: I'm using my rusty-rear end perfect pitch to call out those notes, but it's possible I may be flat or sharp by a half-step. But the intervals will remain; two perfect fourths.
|
|
#
¿
Feb 20, 2023 18:07
|
|
|
I. M. Gei posted:Also a copy/paste tool, cuz I just had to enter the same 4-bar phrase twice by hand and fuuuuuuck doing that over and over. Copying and pasting in sibelius works exactly the same as it does for text? I suspect your other gripe probably has an easy fix as well but I actually don't even recognize what you're talking about there. In short, stop what you're doing and look up some tutorials ASAP. The number pad will be your best friend.
|
|
#
¿
Mar 13, 2024 03:17
|
|
|
I. M. Gei posted:I'm getting the hang of the note entry thing so that's not a problem anymore. Also I think I might've been bugging out a little bit from some withdrawal poo poo when I made that post, which might explain both why the toggle was weirdly pissing me off so much and why my post came out needlessly angry. No worries friend  I also hope I didn’t come across as rude, but you are correct that inputting a four bar phrase by hand twice is madness and you don’t deserve to have to do that. Writing that way will lead to burnout very quickly, as the act of getting the music into the program becomes a slog and a barrier to actually working on the music and making it good. I’ve only ever used Sibelius on desktop so I can’t speak to touch control stuff. But in general my advice would be: if something feels needlessly complicated to do while you’re doing it, there’s a very good chance that someone else had that problem, identified it to Avid, and they improved that process in some way. You’re far from the first person to write a marching band show in Sibelius, so use that fact to help you problem-solve whenever you encounter some resistance! If you have a specific questions about notation in Sibelius (outside of touch interface) I and others here can try to help. I suspect ChatGPT probably wouldn’t do a terrible job as a support bot of sorts
|
|
#
¿
Mar 13, 2024 14:29
|
|
|
|
| # ¿ Apr 29, 2024 05:17 |
|
|
cruft posted:Notes don't have to map to particular drums, it's just a convention. Maybe they had some weird sample of, like, a rubber mallet hitting a package of uncooked spaghetti in a 20 gallon copper kettle, and figured G#1 was as good as anything else. If you have this you’re legally required to share it with us
|
|
#
¿
Mar 15, 2024 14:52
|
|