Jerry Gerber

On 5/8/2020 at 3:49 PM, bjornpdx said:

Boy I really like this. I always pay more attention when listening to classical because it's way beyond Music 101. Lots of ingenuity and awareness of music theory to appreciate. It's difficult to get the dynamics done right when entering notes via PRV or notation editor, but sounds like you did a good job there too.

Thank you Bjornpdx! Glad you appreciate my composition!

Jerry

On 5/6/2020 at 5:06 AM, Wookiee said:

Nicely done @jsg it just shows the power of the MIDI editing facilities in CbB, I applaud you.  Well worth a  

Thanks Wookiee!  Glad you enjoyed listening..

Jerry

I wrote Rhapsody as way to utilize only synthesizers and some vocal samples from the Roland XP-30.  There are no orchestral instruments in this piece, it's my version of electronica, or perhaps in a genre closer to classical electronica.

PLAY

Thanks everyone, it was automation that was causing it.  "Delete Special" resolved it.  I have no idea how automation got in the file as I didn't put it there...

Jerry

I have a project with about 35 MIDI tracks, no audio yet.  I've checked the event lists and staffs for every track and there is no data after measure 89.  There are no markers and no meter or tempo changes after measure 89 either.

Although I have checked "Stop at Project End", playback continues long past measure 89.  I've checked other project files and they behave as expected, they stop at project end.

I can't figure out what's causing this.  I've tried "apply trimming" and "bounce to clip" but this doesn't work.  There are no hidden tracks.  

What could be causing this?

Thanks!

Jerry

www.jerrygerber.com

2 hours ago, DeeringAmps said:

I find the sophisticated melodies (or is still correct to say sophisticated harmony?)
far more interesting than the choice of instrument, but I get you're "demonstrating"
that the "modeled" piano can be just as "convincing" as a heavily sampled one.
Hell, in the context of a dense rock mix, the TTS-1 works fine for my old (and somewhat
compromised) ears.

Hearing your "chops" on Clarinet and Piano, I assume you "played" this in?
Maybe some "light fixing" of the midi?

As always, a big thank you for showing us what can be accomplished with our DAW of choice...

tom

Hi Tom,

No, I did not play the music into Sonar.  I programmed it, note by note, in the notation editor.  Thanks for the comments!

Jerry

My 14th album, Earth Music features my 10th symphony and two shorter works, including Three Short Piano Pieces.

Here's a link to these pieces. They are programmed for a piano that is constructed using physical modeling, not sampling.

Here's a definition of physical modeling:

Physical modelling is a process of recreating the physical reactions and unique interplay of both physical and electronic components using mathematical models and algorithms to create a realistic reproduction. This scientific process is used in many fields, from seismology to the automotive industry. Interestingly, the same principles that create accurate earthquake predictions and more efficient engines and vehicle design can also be used to give vintage instruments a new lease of life in software.

PLAY

16 hours ago, bjornpdx said:

jsg - Generally accepted meaning of the saying is:
    efficient use of time -> more productivity -> more money earned

    I always thought it meant that time is valuable, so you shouldn't waste it like watching one video after another on YouTube all afternoon.

David, Doug, Tom
Thanks for listening and commenting.

I know, of course time is valuable and should not be wasted.  And the generally accepted meaning you gave is right.

But still, from my perspective one can be replaced, the other cannot, so for me personally time is more valuable because while money can be gained and lost, time only moves in one direction...

The saying  "Time is Money" never made any sense to me.

The huge difference between them is that money can be replaced.  Time cannot.

This is a short piece for this album:

http://www.jerrygerber.com/virtualharmonics.htm

PLAY

It's scored for string orchestra and 2 instances of Z3TA-2.

I hope you enjoy listening!

Jerry

Oops!   I forgot to mention the singer and lyricist's names!  

I wrote and produced the song, Lee Gregory is the tenor

and Lisa K. Buchanan wrote the lyrics...

My error...

My friend Art Austin is one of the few classical musicians that I know who is a fantastic improviser.  We get together from time to time, when there weren't any pandemics, just to play.  Nothing memorized, nothing notated, nothing agreed upon, not even tempos, keys or chord progressions.  We just listen to one another and respond.  I find that improv is the time to give expression to the spontaneous  musical impulse, the most direct and immediate form of musical expression.   As a composer, improv often serves as the place where ideas are discovered and turned into composition.   Composition is about structure, refinement, development and organization, improv is about music-in-the-moment-- and nothing else. 

I hope you enjoy listening.

Art Austin, clarinet

Jerry Gerber, piano

PLAY

This is a song I wrote and produced quite a few years ago, my wife wrote the lyrics.   I may get around to re-mixing it to improve the relationship between the vocal and the instrumentation even though I already released this track on a CD years ago...

PLAY

Lyrics by Lisa K. Buchanan

Sung by Lee Gregory

3 hours ago, freddy j said:

I love parodies. 

Politicians and presidents certainly have been subjects of parodies for as long as I can remember.  The first one I can remember as a wee bit of a kid was the teasing about Camelot and President Kennedy.  I guess, if you are going to be a public personality, a thick skin should be a requirement.  However, I must add that hateful rhetoric and intentional misdirection must be avoided.

BTW (for what it's worth) I have 3 primary standards for judging those for whom I vote:  1) Character, 2) Policies, and 3) previous actions.

I would add where the politician gets their money from.  That directly relates to how and why they set policy.   By previous actions I assume you also mean voting record,  which is essentially a history of their policies.   We'd better quit while we're ahead because when the conversations turn political the censors begin their censoring!!

31 minutes ago, Starise said:

The only psychopathic buffons are the cry babies that can't give a fair election a rest and still haven't gotten over it.  Some people love to hate...yes that's you. And they try to make it funny. It isn't funny to me.

Buffoon is spelled incorrectly.  

To make a mix that sounds good on other systems you have to mix on really fine, and usually very expensive, speakers.  Computer speakers just won't do it.   That's what pro monitors are for:  To get an accurate image of the sound, warts and all.  That's desirable, because if you can't hear what's wrong you can't improve it.

I hope you listen to a lot of classical (not film!) music and study scores.  When I finish a symphony it usually takes me about 2 years working on it every day.  Much of that time is spend in MIDI programming--attacks, releases, velocity and cc7 or 11, moving notes forward or backward away from the beat, sample-set choice, etc.  It's time consuming.  You have to think how a player would attack a note, express a phrase, create gesture and intention.  Using lots of tempo variation, even slight, also helps.  The problem is that a computer can play perfectly in time.  That easily degrades into a mechanical, artless, lifeless sound.  It's up to the musician to counteract that with techniques to bring expression, randomness, clarity and a sense of human intention into the MIDI sequence.   I'd start with basic classical piano pieces, i.e. Bach inventions or fugues, and learn that way.   Taking on producing The Rite of Spring requires not only an incredible amount of time and energy, but also top notch gear and a lot of knowledge of music.  If you have that, go for it. 

Here's a masterclass I did a few months ago on this topic:

http://www.jerrygerber.com/soundbytesinterview2019.pdf

And here's a new symphonic work you can probably learn something from:

http://www.jerrygerber.com/symph10complete.htm

Jerry

44 minutes ago, Starise said:

Well since we are not supposed to get political on the threads I won't go into details. All I'll say is they all lie and the alternative this time doesn't look much better to me nuf said. I never vote for anyone based on the person. I vote based mainly on the POLICY. Not everyone is on the vote Trump away side. In fact he has a good chance of making it again.. 

It's a wonderful and clever parody.   It's a song....

2 hours ago, David Baay said:

You can can access the Time+ offset control via the MIDI tab at the bottom of the Inspector for an Intrument track.

Great, thanks!  For some reason my eye didn't catch to tabs at the very bottom...

Best,

Jerry

Thanks everyone for taking the time to listen to this piece.  And thanks for the positive feedback. 

Jerry

Hey there!  I hope you're all safe and staying sane and staying crazy!

With MIDI tracks, it's possible to move an entire track forward or backwards in time using the Inspector View.   I think the only way to do this with Instrument tracks is to create 2 tracks, a MIDI track and an audio output track.  Am I right?   Does anyone know how to move an Instrument track forward or backward without actually moving the notes off the beat?

Thanks,

Jerry

www.jerrygerber.com

1 hour ago, bjornpdx said:

Wow, I can only imagine the work it took to put all this together. Just excellent.

Got a question.  About 1:15 and elsewhere in the 1st movement is an instrument that sounded more like a traditional synthesizer doing some arps to me. Is that what it is or is that a bassoon or oboe?

I think the passage you're referring to is at measure 31.  Dune, a soft synth with ARP comes in and then is joined by Massive, another soft synth at measure 33.  A 3rd synth then enters at measure 35, which is a Cakewalk synth, Z3TA.  No oboes or bassoons in those measures.  The score is in my original post so you can check the orchestration at those measures.    Glad you asked!

Best,

Jerry

I know that many of you around this forum are mostly into pop and rock music, but for those who enjoy instrumental non-pop music, I am posting my entire 10th symphony.

I hope you enjoy listening.

Best,

Jerry

This new work is music set to a poem by Los Angeles poet Cathy Colman.

Body Politics

Best,

Jerry

Thanks for the compliment Tom.  I've never considered myself a mastering engineer in the sense that I don't offer mastering services to others.   I master my own recordings because I know what sound I am going for and pretty much know how to achieve it.  When something doesn't sound right to my ear (after I am satisfied with the composition, harmony, counterpoint, form, etc) it's usually a sequencing, orchestration and/or mixing issue.  If I fix the problem successfully at the stage where the problem actually occurs,  there's not much to do in the mastering stage other than a little EQ, maybe some stereo imaging and if needed some multiband compression to keep  high frequencies from becoming harsh at higher levels and/or bass tones from getting too boomy at higher levels.   Since I am no longer doing soundtrack work and am focused only on making CDs of my own music, I don't worry about how my music works over TV or other mediums that don't concern me.   This too, makes mastering less complicated. 

Best,

Jerry

www.jerrygerber.com