19 September 2013

Elliot Wright Music - Site Re-Design in the Works: A Brief Explanation

Hello, friends!

It has been a while since I last posted, I know.  After the initial release of my EWQLSO-Sibelius Manual Sound Set Templates, I was compelled to redirect my energies to other projects, both musical and non-musical - and it has understandably been difficult to get new blogging and video content out there since the end of January.

Now that I have some time to get back to the site, I'm facing the follow-up to some site design compromises that I came to during the lead up to the EWQLSO Template release.  In the rush to re-design the site to accommodate better on-the-go blogging capabilities, I chose to start up this 'Blogger' blog - it provides me with analytics so I can tell what kind of content is popular or not, gives readers the ability to comment (which my iWeb blog could not do), and allows me to update my blog from anywhere with an internet connection (whereas my iWeb site requires me to use only the original computer containing the site).

To allow on-the-go blogging without sacrificing control of the overall 'look and feel' of the main site, I compromised and elected to set up a static iWeb site, where the main pages and content remained mainly unchanged, and the dynamic content was populated with widgets (like SoundCloud and my Blogger RSS feed and embedded YouTube videos) which could be updated on-the-go.

The trouble with this is that even though I have greater on-the-go capabilities, I still cannot exercise direct control over my website from my PC (I do my music work on a PC because of the good power-to-hardware cost ratio) or while traveling with a netbook or laptop setup.  Rather than invest in expensive and complex software, I've been looking into WordPess as an alternative.  As I understand, it should allow many of the same functions I already get with Blogger, but will allow me to incorporate all my content into a single, standalone site, instead of splitting it between a static site and a remote blog.

What it comes down to is this: for the reasons mentioned here, I will over the next few days and weeks be updating the main site ( http://www.elliotwrightmusic.com ) to WordPress.  This may result in certain pages being down or under construction for a time, but you can bet I'll be doing everything I can to ensure that the most important content (in particular the Home page, Contact page, and Templates Sales page) is taken back online as quickly and effectively as possible.  I thank you all in advance for your patience while I do what I can to get you a better EWM experience.

Cheers!
-Elliot.

07 June 2013

Brian LaGuardia's EWQLSO Gold Multis Open Doors for Template Users

Users of the popular EWQLSO Gold (PLAY Edition) can now use EWQLSO Gold with Elliot Wright's EWQLSO / Sibelius Manual Sound Set Templates.

  Composer and Gold user Brian LaGuardiawww.brianmlaguardia.com/blog/ ) has produced a set of Gold-compatible multis which can be easily loaded into PLAY for use with the 'Master Template Package'.  He even wrote some really interesting blog entries about the whole experience, here, and here - thanks, Brian!

  Users who have purchased the system can download the multis for free on this page, and then use them in place of the Platinum-compatible multis included in the 'Master Template Package'.  It's just that easy!

Cheers!

10 March 2013

EWQLSO Gold Conversion Table now Available for Sibelius 7 Manual Sound Set Tempalates

Hello again everyone!  Good news - I'm still alive, and working.

Today, I'm happy to announce that a conversion guide for EWQLSO Gold users is now available to help Gold users to load and use their library's sounds when working with my EWQLSO-Sibelius Manual Sound Set Templates.

The guide itself is fairly simple.  The first section contains instructions on how to use the guide.  The second section lists which patches to load into each channel of each instance of PLAY, along with a brief note on any modifications to make to the given patch.  The third section tells users which key-switches to assign to which pitches, in order to line the key-switches up with the KSW-Staff model used in the template.

And it's just that simple!  Finally, Gold Users have an interim conversion guide which they can use to set up their manual sound set for use with the template system.  Thank you all for your patience while I got the tables ready. Enjoy!

The Conversion Guide can be found as a free download on the 'Elliot Wright EWQLSO-Sibelius Manual Sound Set Templates' product page, here.

15 January 2013

How and Why I Created My Sibelius 7 - EWQLSO Manual Sound Set Templates


        In autumn 2008, I was presented with a problem which I’m sure you’ve come across yourself: I encountered a situation in which I needed to create a “realistic” audio mock-up of some of my existing scores, but found Sibelius Sounds to be too unrealistic to achieve this.  For me, the solution was to purchase a third-party sample library; but I quickly found, to my horror, that connecting my score to my samples was more difficult than a simple plug-and-play solution.

        I spent a few months learning about how to assemble a basic manual sound set, which I used to marry patches from PeterSiedlaczek’s Complete Classical Collection to my existing scores – ruining the transposition settings, spacing, etc. in the process.  Shortly after finishing my project, I discovered EastWest-QuantumLeap Symphonic Orchestra (EWQLSO), which I purchased right away, and set about toying with and learning about.

        A major problem came out of my Demo CD project though.  As I listened to my carefully-prepared tracks (I have combined the samples with recordings of live musicians playing on a click-track), I noticed problems in the orchestral balance – melodies and textures which had sounded fine using Sibelius Sounds were less defined, even muddy, in live performance.  The orchestral balance was off, and part of the problem was that I had fallen for the common mistake of young composers: “writing for the sounds” – the act of modifying a computerized score until it sounds right with the notation software’s pre-packaged sounds, in turn creating a score which sounds imbalanced in real life. 

        While I launched myself into books on orchestration, I also realized that I needed a set of sounds in Sibelius which might better represent a real orchestral performance.  I knew how to build a manual sound set, and I had been learning about EWQLSO for some time; it only made sense to combine that knowledge and put together an EWQLSO Manual Sound Set!  After several small experiments on a mediocre computer system, I was having difficulty accessing the full spectrum of available articulations in the library using only a SoundID-based manual approach.  I eventually had a breakthrough though, in the form of my “Key-Switching Staves” idea, which takes advantage of Sibelius’ Panorama function to treat Sibelius more like a sequencer to play the patches with more intimately personal control.  As 2010 drew to a close, the possibility of a comprehensive EWQLSO Manual Sound Set was becoming much more realistic!

        In early 2011, I decided to invest in a better computer system which could handle all the Master KSW Patches being played simultaneously.  Once the computer had been assembled, a few weeks’ work created my first draft of the full system.  The release of Sibelius 7 in August of that year, with 64-bit processing, enabled me to finally load all the patches I needed, without concern for RAM limitations.  The result was the October 25th release of the system’s first complete realization of an existing score: an abridged version of Tchaikovsky’s Scene from the Swan Lake Suite.  The sound set would not be finished though, until I could accommodate every key-switch on every pitched instrument; and combine this with all ‘common’ percussion instruments in a single ‘Master’ template.  The task took until January 2012 to plan and implement, and required a challenging re-think of the Key-Switching Staff model to include all available key-switches.

        Several months later, as I continued to receive positive feedback from viewers of the Swan Lake mock-up, I started to consider the possibility of making the whole system available to other users.  The ensuing effort took months of brainstorming and experimentation to bring to market a template which is as user-friendly as possible, while addressing both the needs of sound quality and the creation of beautiful-looking orchestral scores.

       I will be releasing my templates on 31 January 2013, in the hopes that other users will enjoy them and their unique approach to mock-up work.  They will be available on my website, here.

30 December 2012

Elliot Wright's EWQLSO Manual Sound Set Templates Available for Download 31 January 2013

Happy Holidays, everyone!  Looks like the world didn't end on December 21st (thank goodness, because I had tickets to the ballet that night, and I would've been out by about a hundred bucks if there'd been a volcanic eruption during the Entr'Acte).

But guess what?  I have a present for you!  Now, the whole package won't be ready until a month from now, but it's still pretty awesome.  I'm pleased to announce that I am working on a User Manual for my EWQLSO / Sibelius 7 Manual Sound Set Project Templates, and I intend to release the whole set of template and configuration files for public download at ElliotWrightMusic.com on January 31st 2013.

For those of you who are new to my work, I'll fill you in.  About two years ago, after a year of minor experiments with the idea, I set about building a Playback Configuration in Sibelius (and of course, a Score and Playback Dictionary to go with it), which, all together, could be used to play the full orchestral range of EastWest-Quantum Leap Symphonic Orchestra (Platinum) patches, using a fundamentally manual approach to controlling the playback.  The result, after plenty of time and effort, is the EWQLSO / Sibelius 7 Manual Sound Set Project, a template based, sequencer-like key-switching method for controlling your EWQLSO patches in order to create scores and audio mock-ups simultaneously in Sibelius 7.  A demo of this was produced in October 2011, when I posted this little abbreviation of two selections from Swan Lake:
"Swan Lake Selections" October 2011: An Entirely 'in-program' Sibelius performance, produced using an early version of my EWQLSO / Sibelius 7 Manual Sound Set Template.

When released, the system will consist of a Score (a .sib file) with all the pitched instruments in the library, as well as several drums, a triangle, and a crash cymbal (full instrumentation list below).  It's accompanied by a set of Playback Configuration files, which tell Sibelius how to set up the various instances of PLAY in order to play back the score.  In case of any complications, a set of multis (patches which can be loaded into PLAY which include several instruments and their various adjustments) have been provided, which can be loaded manually if needed.  A further set of "individual instruments" multis are included, which feature individual instruments like the First or Second Violins, Solo Flute, Bassoon, etc.; all with the appropriately-adjusted key switches so that the user can modify and create their own templates using the same system.

As described (approximately) in this video I released last year, the system works by using a small, hidden staff under each instrument staff, which silently plays the key switches for that instrument's patch - the same as you might do in a sequencer program, only instead of a piano roll, you have a score (which acts like an auto-quantized piano roll anyway).  Some simple automation exists for certain sounds, while manual key-switching control can be used for shaping phrases or various other tricks which can help  The genius behind the system is that every possible key switch in the library has been auditioned and arranged so that every instrument's miniature 'key-switching' staff behaves essentially the same way; making it possible to copy a phrase and its accompanying key-switches from one instrument to another, while maintaining approximately the same expressive effects.

A much smaller 'free' version of the template will be available for download on the site soon after the release, so you can try out the basics of the key-switching system and see if you like it first. The main package will consist of the "Master Template", and the accompanying Playback Configuration files and PLAY multis, and may include a 'silent' version with no patches loaded (for users on slower systems of other versions of EWQLSO to load patches as desired), and a Sibelius 6 version of the template, also "silent".  An "add-on" pack of smaller wind, brass, and string ensemble templates will be made available as well, shortly after the main release.


Master Template Instrumentation:
(All patches described are 'Solo' patches, unless otherwise noted)

Piccolo
Flute
Alto Flute
Oboe
English Horn
Clarinet
Bass Clarinet
Bassoon
Contrabassoon

Horn (2 staves, polyphonic)

Piccolo Trumpet
Trumpet (2 staves, polyphonic)
Trombone (2 staves, polyphonic)
Tuba

Timpani
Triangle
Snare Drum 1
Snare Drum 2
Snare Drum 3
Field Drum
Tenor Drum
Funeral Drum
Concert Bass Drum
Crash Cymbals
Orchestral Bells (swappable with Vibraphone)
(all 'keyboard'-style percussion patches are also available)


Harp

Solo Violin 1
Solo Violin 2
Solo Viola
Solo Cello
Solo Contrabass

Violin [Ensemble] 1
Violin [Enswemble] 2
Viola [Ensemble]
Cello [Ensemble]
Contrabass [Ensemble]

[Hall Noise]

05 November 2012

"12 Pieces for Cadet Band" is now available on Lulu Press

Happy November, folks!  As of fairly recently, my March Book, "12 Pieces for Cadet Band" has gone live on Lulu Press, and is available for a 15% discount until the end of November!

For those of you who follow me more closely, the book (originally under the working title "The 2012 March Book Project"), is a collection of twelve short, simple pieces for youth band with flexible instrumentation.  Each piece is written in the same 4-Part "March Book" format in popular use across the Canadian Cadet Movement with their brass and reed bands.

"March Book" format refers to a simple but flexible style of writing for beginner and intermediate ensembles of various instrumentation.  The piece is broken down into its key elements - in the case of March Books, it's usually four elements - and each element is copied to every available instrument.  The result is the ability of the musical director to select any element (melody, countermelody, harmony, bass line, etc.) to assign to whichever instrument in the ensemble they feel can best handle that element.

This means that less-experienced players can be given easier parts, while more advanced players play more complex parts - allowing musicians of varying degrees of proficiency to play together in the same ensemble.  It also means that any ensemble can perform the music, as the score states no absolute requirement for any specific instrument.

No low brass? Give the bass line to the lowest instrument that you do have.  No lead trumpet? Give the melody to whichever player is your strongest.  It doesn't matter which instruments you have, or don't have in your ensemble.  Any combination of common brass and wind instruments will do.  "12 Pieces for Cadet Band" currently accommodates any combination of the following instruments:
  • Piccolo
  • Flute
  • Clarinet
  • Alto Saxophone
  • Tenor Saxophone
  • Baritone Saxophone
  • F Horn
  • Trumpet
  • Trombone / Baritone / Euphonium
  • Tuba
  • Percussion (Snare Drum, Bass Drum, Cymbals)
  • Glockenspiel (Bell Lyra)
This is Elliot's first musical print-publication.  For learn and hear more of Elliot and his work, you can check out his Lulu Press Author Spotlight, or visit his Official Website and "Like" him on Facebook.  Thanks!

06 October 2012

Sibelius: How to Set up Two Staves with one Instrument Label


Have you ever looked at your favourite scores just to see what aesthetic changes you can make to your own compositions to make them look nicer?  I mean, the way you’ve written your piece is perfectly acceptable, but you’d like to make your score look a little less... chunky?  A little more... elegant?  A little more like the scores you learned to write from; stuff by Beethoven, Tchaikovsky, or fittingly enough, Sibelius?

Well you can start by using a ‘Helsinki’ house style from the get-go, for one thing - it’s a little more elegant than the usual ‘Opus’ house style, and I hear that choosing it when you create the score is best, rather than converting to it halfway through.  And choosing good fonts helps too - I like Cochin and Hoefler Text.  Zapfino can be nice as long as it’s not overused, and in some cases I don’t mind using Footlight MT Light, or Mshtakan, if it suits the mood.  But today I’d like to share how to do something with Sibelius which can add that extra little ‘authentic’ feel to your score.


What I’m talking about is multi-part brass labelling.  How many times have you seen two or more staves dedicated to multiples part of the same instrument, and labelled with the same field of text?  Pretty often I’m guessing, if you’re looking at most standard orchestral music of the 19th century and thereabouts:

 Figure 1.  
Multi-stave sections, labeled with the same field of text.  From Sibelius’ Symphony #2.


Well, you can accomplish the same basic effect by just adding two instances of the same instrument (by choosing Create>Instruments and adding the same instrument twice, then re-naming each instrument individually - see fig. 2, where I’ve done just that and then joined the two staves with a brace).
Figure 2.  
‘Wrong’: Using two instances of the same instrument to approximate the effect of the scoring in fig. 1


But you want something better - something that looks like those scores you love so much.    Now, for starters, if the two staves are going to be labeled with one field of text, they have to be derived from the same instance of that instrument (that is, you can’t join two separate “Trumpet” parts - you have to create one Trumpet part which uses two staves).  

STEP ONE: Creating the Instrument
To do this, go to Create>Instruments and insert the instrument you want (say, for example, a horn part).  Then select it on the right-hand column and click “Extra Staff Above” to make however many extra staves you need.  In my case, I just need two staves, total.  Now click OK and go back to your score.  You should see two staves on your score, connected and labeled with one piece of text, saying something like “Horn in F”.  Good job.

STEP TWO: Labeling the Instrument
Okay, step one was easy.  Step two is easier.  In this step, you just need to label your instrument.  In fig. 3 (left), I typed:

I[enter]
[enter]
Cors en Fa[5 spaces][enter]
[enter]
II,III 

You can see the result.


Figure 3.  
Two staves of the same instrument, labeled with a single field of text in Sibelius.

Okay, now something just a touch harder, but not by much.  If your score is not longer than one system at the moment, add bars until it is.  First thing you may notice is that Sibelius may choose to hide the ‘extra’ staff of your two-staff instrument.  That’s easy to solve.  Just ‘Select All’ (Apple-A or Edit>Select>Select All ), and go to Layout>Show Empty Staves... - Make sure to tell Sibelius to show empty staves for parts (a) and (b) of the instrument you just created, and click ok.  Now Sibelius should be showing two staves for your new section throughout the entire piece.

Now then.  See how Sibelius labels the horn part on the second and successive pages?  It’s still only using one piece of text, and unless you don’t mind that, you’ll have to do something similar to what you just did about labeling.  Double-click the text field and type in something similar to the text above, but use the appropriate abbreviation for the instrument being used.  Remember, Sibelius repeats this piece of text for all successive pages, so you don’t have to worry about re-writing it or anything.

Perfect. Now you’ve got just what you wanted: two staves of the same instrument, labeled by one piece of text, and the abbreviation is taken care of too.  But wait!  There’s one more very important thing left to do, and it’s a little more complicated.

STEP THREE: Setting up the dynamic Parts
As it stands, Sibelius recognizes the two staves as one instrument.  This means that the extracted part for “Horn in F” (if that’s the instrument you made) will contain two staves.  But that’s not what you want - you want, for example, horns 1&2 on one staff, on one part; and horns 3&4 on one staff, on one part.  That’s how it’s usually done; and you want it done that way.  No problem, friend - here’s how you do that:

Open up the ‘Parts’ control panel.  You’ll see your special instrument, given a funny-looking name like “1 Horns in F 2,3” don’t be alarmed, it’s just the letter-for-letter condensation of what you first typed in step 2. Select that part.

Now, see the bottom of the control panel, where there’s an icon with a paper and a pen on it?  That’s the ‘Staves in Part’ button.  Click it.  It will open up a control panel with a column on the right showing which staves of your score will be copied to that dynamic part.  Just click one of those staves and remove it.  Then click ok.

Now we need to create a part for that other staff you just deleted.  Easy.  Click the icon at the bottom of the ‘Parts’ control panel that looks like a blank page.  That’s the ‘New Part’ button.  Click it.  It opens another control panel similar to the one you just used.  Select the staff you want from the column on the left, and add it to the part.  NOTE - Sibelius may automatically try adding both staves to the part, because in the computer’s mind, they’re the same.  Easy fix: just select the staff you don’t need and remove it from the part.  Easy as that.  Click OK.

Alright, Captain Awesomesauce - now you’ve just got one last thing to do.  Double click one of the two separate parts you’ve just created.  It will take you to a page showing an instrument with one staff, just as you wanted.  Problem is, the top-left corner still shows the instrument as “1 Horns in F 2,3” when you want it to read either as ‘Horn in F 1” or “Horns in F 2,3”.  

That’s easy.  Double-click the text.  Sibelius will put up a dialogue box telling you that you’re crazy.  Click OK.  In the panel that comes up, under “Part Name”, type in the name of the instrument (like “Horns in F 2,3” for example).  Now click ok.  Do the same thing for the other part.

And there you have it!  Just a few minutes of work, and you’ve created a horn section (or trumpet section, or trombone section), labeled it the way you want it, and made sure that the dynamic parts work too.  From time to time you may need to ‘show empty staves’ again, but aside from that, you don’t even have to think about the work that just went into making that part - just go right ahead and write the way you normally would, and Sibelius will handle the rest. Cheers!