I LOVE this product-- and here's why!
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Author:  TomDM [ Fri Jan 20, 2006 12:13 am ]
Post subject:  I LOVE this product-- and here's why!

I am very excited about Overture4 with the new VST capabilities. I just finished my first test with a short segment of a classical piece using GPO.

I am not putting this up because it represents great work. On the contrary. It represents the BOTTOM of what can be done with the product that Don has delivered to us.

First. I do NOT play keyboard. So, every note has been entered by hand. This means, for now, no dynamics and as choppy as one is going to get.

Second, I spent a total of 2-1/2 hours at it.

Third, I simply used 'wet' instruments with no attempt to tweak the ambiance. It's right out of the box. The only tweaking I did was to change some pan settings and adjust the volume. But, it's plain that I didn't fiddle (no pun intended) with the strings because their volumn was left at the defaults.

In other words... this is a perfect example of the minimum quality ANYONE should expect. And, with that in mind. I think it's a surprisingly high level baseline!

As I said, it's very short since I am limited in my ability to get the notes in rapidly. But, I think it will encourage some people who believe that you have to be a genious to get something that is remotely pleasing. It sure beats General MIDI!

Be encouraged to try it! :)

Author:  jrboddie [ Fri Jan 20, 2006 7:05 pm ]
Post subject: 

Good start, Tom.

I understand that it is better to use the dry instruments and add ambience after the mix. The wet instruments are just for "audition purposes."

Also, you will see a big improvement by using slurs to get the legato effect on your woodwinds and strings.

Author:  TomDM [ Fri Jan 20, 2006 7:34 pm ]
Post subject: 

jrboddie said:
I understand that it is better to use the dry instruments and add ambience after the mix. The wet instruments are just for "audition purposes."

Also, you will see a big improvement by using slurs to get the legato effect on your woodwinds and strings.

People can be intimidated if they only see excellent examples. I'm definitely giving them the other end of the spectrum! :lol:

The reason for using the 'wet' instruments was to simply see for myself how far a first try can go toward realizing a substantially better sound than General MIDI. And, it can go very far.

The next step is to replace the instruments with 'Dry' versions and see if I go forwards or backwards in duplicating the 'hall' effect.

I know I was using some slurs notationally; but, I'll have to check if I was consistent. I have a feeling the real issue is the velocity I'm using as I enter each note manually. I'm know that I have a lot to learn regarding the rolls that velocity vs. volume vs. expression play. It's a balancing game I suspect. But, there should be someone out there that has determined, for themselves, the velocity they will standardize on for each instrument. Here's an invitation to speak up.

Thanks for your help! :)

Author:  Barry Graham [ Fri Jan 20, 2006 8:36 pm ]
Post subject: 

I don't know how this applies to GPO but the dynamic scheme I use for MIDI is this:-

One and only one Volume (CC7) controller placed at the start of the track.
This is used for track balance.
If you need to make a full track louder or softer you need only change this controller.

Expression (CC11) controllers used for all dynamics, swells and fades.
You cant use velocity for swells or fades. You can use volume but if you use that for track balance you must use Expression.

Velocity is built into the Note On message - once the note sounds on a held note the velocity can't be changed. It is really only suitable for dynamic changes on percussive or hammered instruments that don't sustain.
Use Velocity for accents and articulations.

The relationship between them is (sort of) multiplying.
Something like Volume x Velocity x Expression but they are not linear.

(My two bobs worth - ignore at your leisure)

Author:  jrboddie [ Sat Jan 21, 2006 6:38 am ]
Post subject: 

I agree with Barry's approach, but with GPO one uses CC1 (Mod Wheel) to control dynamics.

Also, I noticed that when you load from the templates (orchestra, for example) that while the tracks are set to the proper channel for each instrument, the patch/instrument field is not set. This may prevent notated slurs and other articulations from being played back correctly. To check, right click on a staff and select "Track Properties". If the Patch/Instrument is blank, click in the blank and select the proper GPO instrument. Check again, to see that the channel number didn't change because it sometimes "autoincrements".

Author:  PaulG [ Mon May 08, 2006 12:42 pm ]
Post subject: 


Just heard this for the first time - Tom, were you working of score paper or did you transcribe by ear first or a similar method?

My keyboard skills aren't too great but I have a great ear due to a probably much-disproportianate time spent on ear training, sight singing, etc.

Anyway, trying to re-inspire myself after a year of buying a boat load of gear, software, etc, trying to "marry" computers and music and have adistinguishly embarrisng lack of output to show for it.

I am trying, I guess, to "start over" and it's nice to see that other's are afraid to share their enthusiasm and being honest about their own skill level, too...

Thanks for this post.

- Paul

Author:  TomDM [ Tue May 09, 2006 8:48 am ]
Post subject: 

Thanks, PaulG.

I transcribed a score for this example using a mouse to place notes. But, now that I have SharpEye, I'd probably use that to attempt to scan in the notes as closely as possible. It was a 'pocket' score, so I'm not sure how well it would have scanned.

I'm very impressed by Overture 4.0. I'd had Overture and Scorewriter for years with little to show for my efforts. But, 4.0 seemed to bring the whole thing alive to me.

There is STILL the problem of minimal information that is available about how things really work. But, this forum has been a life-saver in terms of unlocking some of those secrets. In particular, I'd never been able to get articulations to work until I learned here that you must click on a particular note for some of the articulations to affect the note. I'd just been laying the articulation down on the page unattached.

Author:  Mike Bunker [ Wed Aug 10, 2011 11:02 am ]
Post subject: 

I love this product; here's why:
I wrote a musical scoring program for MS DOS and I know how complex it can get. Overture has so many features that work flawlessly. You only need to start using some of the menu options to see how truly great and detailed the underlying programming really is.

There are so many cool features that some people (like me) will never get into it all. I too only use the score editor to input the music I work with, mostly choral arrangements from the songs we sing in choir at church, and some classical pieces like a Hayden concerto that I split into 4 scores for the 4 movements. It is tedious, but the results are precise and repeatable.

There are so many options in Overture that it can be a bit overwhelming at times. The detail of its operations are fabulous. The spacing of score objects is wonderful, the workings of articulations are ingenious, the MIDI and soft synth workings are wonderful. My only beef is that it forgets all of your hardware instrument setups if started up when they are not turned on, but that is a small nit.

It is with great joy that I create my scores with Overture. The facilities it provides are amazing, and sometimes I wonder that they work at all. Clever programming, astute programmer, user feedback, that's why this program is so totally satisfying. And when I hear other users wrangle about the advanced features they are using, I know that there is much to learn for me in the future. I doubt I will ever outgrow Overture.

I have been a use of Overture since Cakewalk sold it. Again, I am almost totally blown away with all that I can do with Overture, though some outboard programs are often used, the facilities provided in Overture are outstanding in their reach and forward thinking. When you really get into it you will see the hand of the maker and all of the skill used to develop it. Don is a genius. Most of us here acknowledge that without even having to think about it.

The more you use it the more you will recognize the genius behind it. The details of this program are simply amazing and I cannot get enough of it.

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