Vienna Synchron Player Libraries
The Vienna Synchron Player offers many possibilities for use even outside of traditional music writing. In this short composition, I chose some libraries developed for Synchron Player:
My main choice was to use the portion of sound within the semitone and not beyond. So I set most of the instruments with the Pitch Bend Range at 1. I then worked with the overlap of various timbral and pitch combinations. The tuning fork is 440 except for the BLÜTHNER piano that I set it to 432 Hz.
When I decide to write a composition, I personally prefer to start with writing, so I write directly in musical notation with DORICO and once the writing is complete, I import the XML file to my custom Template in Cubase Pro. From here I start the step by step programming, so as to reconstruct the sound of the composition that I imagined during its creation.
Below I show a fragment of the first chord of the French Horns in notation and how I realized in Cubase Pro the “controlled” glissando, with the Pitch Bend.
In the demonstration video you can see how I used the Pitch Bend for the 4 French Horns in Cubase Pro, below the picture represents only the first French Horn. In this case I used the half-tone glissando with the articulation in crescendo of 4 seconds.
The crescendo articulation of 4 seconds I used with all 4 French Horns, so as to have a natural crescendo without the use of Control Change n.2, control used for the modification of the velocity in real time.
The composition begins with a Cluster of Strings on the Bridge (Sul Ponticello) in the foreground which then becomes the background for the musical evolution of the first part of the composition. I made it with the Synchron Strings I library, a beautiful library dedicated to particular effects used a lot in atonal writings or in music for Film.
Of course we could not miss the use of Synchron-izd Dimension Strings Libraries, these libraries I, II and III are fundamental for my work. They can be used in many ways. In addition to the use as Divisi, I remember that there are 8 first violins all separated, that is to say individually manageable, they can be used in groups in combination of any number. 2, 2, 2 … 3, 3, 3 … 4, 4, 4 … etc. .. means that if we have a musical writing with many parts in Divisi and with a very large polyphony, the Dimension Strings can be used in addition to the 8 Players.
In my composition, I used this very concept, subdividing into 5 groups of 3 Violins, except the last group a2. To work on the tone of each one I then chose to have the notes of the chord performed on certain strings. In this composition I used Dimension Strings for the parts in Divisi of the 1st and 2nd Violins. The library of the First and Second Violins when playing UNITI (ensemble) is the Synchron Strings I. The First Violins are 14 and the Seconds are 10.
Below is the outline I used for Dimension Strings for divided parts:
Dimension Strings 1st – Group 1 – 1-3-5 – Sul E
Dimension Strings 1st – Group 2 – 2-4-6 – Sul A
Dimension Strings 1st – Group 3 – 7-1-3 – Sul D
Dimension Strings 1st – Group 4 – 8-4-6 – Sul G
Dimension Strings 1st – Group 5 – 5-7 – Sul G
Dimension Strings 2nd – Desk 1 – 1-3 – Sul G
Dimension Strings 2nd – Desk 2 – 2-4 – Sul G
Dimension Strings 2nd – Desk 3 – 7-8 – Sul G
Dimension Strings 2nd – Desk 4 – 1-3 – Sul G
Another interesting use I made of Synchron Player was the “Parallel Mode” tool, which allows you to switch from one articulation to another. In my case I was interested in starting with the “no vib.” to continue towards the “vib.” and the climax, “very (molto) vib.“, and then go back to the “vib.” and “no vib.“. To do this I used the Dimension Control / B with Control Change n.1, customizing the Patch Slots with the three articulations n.v. – regular vib. – espressivo for each group of desk.
For Divisi in Mute (Sordina – Synchron-ized Dimension Strings II), I chose the Divisi in two parts, leaving the whole group a8 Players. The glissando effect that you feel, I got it simply with the Portamento articulation, without the intervention of the Pitch Bend. While for the Violas I chose a sound as a background for the First and Second Violins, tenuous, with a sound of their own, Sul Tasto (Synchron-ized Dimension Strings III).
For the end, I chose to use the beautiful BLÜTHNER, which perfectly adapted to the choices I made for this short atonal composition, but with a 432 intonation, in order to underline once again, the simultaneous presence of different intonations, the main feature of the whole composition.
All libraries have been loaded into Vienna Ensemble Pro 7, in which I do my Mixes and Mastering. For me it is now an integral part of my workflow, like an extension of Cubase Pro. In this way it allows me to obtain a much more fluid and faster workflow, so as to devote more time to my creativity.
Cristiano Alberghini – Composer and Teacher – Steinberg Certified Training