For singles who have the desire and time to create music, but there is no opportunity to attract good musicians to their projects.
For professionals who have to create arrangements with a small budget.
You are a composer and / or arranger, and for people to hear your works, you have several ways and possibilities:
1. Invite professional musicians, but it is expensive;
2. Gather a roster of amateurs, but it will take time and effort, and the result may not satisfy you;
3. Find a buyer or customer for your music – you become a professional and depend on demand;
4. Create music using a synthesizer;
5. Create music with a sampler and computer
Sampling technology, in which the basis is the recorded sound of a live instrument collected in libraries, and the more extensive the libraries, the wider the palette of the sound engineer is the dash of the DJ and the dash of the composer. Libraries on CDs can be purchased inexpensively on the market and later be exchanged with friends. You also need a modern computer, a sound card for it, and even a mussel keyboard is desirable, but not necessary. And you, without playing on any instrument, can create a pleasant isjazz, for example, if you prefer. The disadvantage of technology can be called the repeatability of phrases and pictures, their linearity, the lack of opportunities for melodic and harmonic constructions. Phrases and individual sounds can be moved (transposed) to a small extent up and down and according to tempo (up to a tone – it is not recommended for a greater value due to frequency distortion). But to collect a certain melody that sounds naturally, it is extremely difficult, it is easier to invite a musician and edit the recording.
Ideally, a solo should play a good live musician, in the absence of – editing the recording of a mediocre game, and in the absence of such a thing – we collect a solo from cutting phrases, selecting phrases according to the timbre and manner of sound extraction. On the contrary, the background instruments, which by the musical idea are not designed for the immediate attention of the listener (for example, a non-solo double bass), parts of such instruments can be crammed with a mussel keyboard and played through a sample. This is especially true when there is the task of imitating a choir or a brass band – samplers begin to win over live musicians, in organizational, financial, and technical aspects.
The sampler tuned once and forever, he does not lie in rhythm – all the pipes will play exactly to the beat, regardless of the complexity of the parties and the tone. But the main thing is that you get the possibilities of Haydn, who wrote the notes for the violin composition, listened to the result, and then edited the notes, you get the opportunity for a musical experiment. And, if you want to write a symphony, to achieve its performance by the orchestra in the conservatory hall, you will have to produce a semi-finished product, and it is desirable that it should sound as lively as possible.
Sampling technology allows it, but it will take a lot of time to “cross-stitch” and read “help” to the software. It is very desirable to speak English at least at the level of reading “help” – when you read the translation, the meaning disappears somewhere, it is very difficult to understand, probably due to the fact that people usually translate (or programmatic translators) who themselves do not understand in problematics. The first thing you have to do is create virtual musicians who will do what you tell them, but apart from orders they will not do anything – they cannot. It is useful to know the basics of sound synthesis (how the synthesizer works) – the technology is located at the junction of synthesis and samples. With the development of computers, resources are increasing, limitations on the volume of files become insignificant, and the rule applies: the more the sample weighs, the better it is. The fact is that each “live” note has its own “portrait” (open the audio editor and compare). Our ears perfectly distinguish the note “la” of the trumpet from “la” on the same trumpet, but with a different nuance, and if we put the same notes close to each other (repeat note recording), artificiality will be heard. Practice shows – you can repeat it for the fifth or seventh time – a person forgets a specific sound, only an image remains.
There are two methods here:
1. ASSEMBLY. Create a library of notes of any instrument on the hard disk. Notes are distributed in height, length, volume and character of sound (it is recommended to specify these parameters in the name of the Wav file so that you can easily find it, and this is a problem when there are thousands of them). The next step is directly assembly-docking in an audio editor (such as Sonar). Of course, not as fast as a musician plays, but with some skill, combined with waiting for the musician to appear, for tuning, for tuning the microphone, and then cutting and moving all the same, you can win time. The problem is the docking of the legato notes of the wind instruments (the sound does not stop, but, as it were, breaks, the sound wave rolls over), therefore it is better to use “live” joints, this, however, significantly increases the library.