In reply to a question about obtaining 'real' instrument
sounds from the Music 5000 (AMPLINEX 021 Questions and Answers), Ian Waugh made
the following comments:
The problem with doing exact transcriptions and then playing
them with inexact sounds is that they don't sound quite right . . . Original
compositions specially written to take advantage of the strengths of the system
(are) the most successful . . . Write with what you have, not with what you
wish you had.
He continued:
John Bartlett's 'Symphony' is a tour de force of programming
and arranging and I heartily agree with the comment that it is well worth
adding to your collection. But however clever the programming may be, the
result is not quite the same as the London Philharmonic, is it?
In this feature, John Bartlett presents an alternative view.
Instrumentation - a reply
John Bartlett
Whilst totally concurring with the view that the most
successful results come from writing original music tailored to the Hybrid
system, this does little to promote understanding of the nuts and bolts of
'real' music.
If users wish to expand their overall abilities, the
restrictions imposed by the system could prove to be counter-productive. I
sincerely believe that attempting to replicate 'real' music is one of the most self-expanding
exercises possible. Agreed, the final result will never be entirely convincing,
but the practical lessons to be learned are priceless.
For example, before undertaking the task of writing
'Symphony' I thought that I had a reasonable understanding and awareness of the
instrumentation and harmonic structures of the music to be used, having loved
the pieces for many years.
The inherent richness which I discovered as a result of
trying to transcribe the works was a revelation. So much of the composer's
sheer genius goes largely undetected by simply listening to his work. My
respect and admiration for Beethoven in particular, grew by leaps and bounds.
I feel that my own understanding of music, in the widest
sense, was dramatically increased by the exercise. It was an extremely difficult
disc to write, even though the music and arrangements did not have to be
conceived.
Rewriting full orchestral scores for eight voices of limited
scope was without doubt the most difficult part, but this very difficulty led
to deeper understanding of the system itself (let alone the music).
My view is that provided the user is aware that there are
limits, but is prepared to push them as far as possible, the exercise is very worthwhile.
The experience gained can then be incorporated in dedicated
music for the system.
One note of caution to those who believe that the solution
to their problems is the acquisition of MIDI based sample players:
It ain't that easy!
Wonderful things can be achieved via MIDI, but it will NOT
replace musical ability and understanding. If you wish to replicate the current
output of popular music you will probably have a lot of success, but if your aspirations
are more wide-ranging, then be ready for a few problems, regardless of how good
the specification of the equipment is.
Finally, over the years there has been a lot of criticism of
MIDI for various reasons. Whilst agreeing that it is possible to improve
anything, I think that if handled properly it is an answer to the thinking
musician's prayers. In combination with AMPLE quite stunning results can be
achieved - with a little (or a lot) of thought.
Published in AMPLINEX 022, July 1991
