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<title>Diario dallo studio</title><link>https://www.studio-magazine.com/index.html</link><description>Personal thoughts about studio life and music creation.</description><dc:language>en</dc:language><language>en</language><dc:creator>Paolo Tramannoni</dc:creator><dc:date>2021-06-21T11:17:48+02:00</dc:date><admin:generatorAgent rdf:resource="http://www.realmacsoftware.com/" />
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<lastBuildDate>Tue, 12 Mar 2019 15:30:50 +0100</lastBuildDate><itunes:author>Paolo Tramannoni</itunes:author><itunes:owner><itunes:name>Diario dallo studio &#x7c; Journal</itunes:name></itunes:owner><itunes:category text="Musical Instruments"/><itunes:keywords>music, musical instruments</itunes:keywords><itunes:summary>Personal thoughts about studio life and music creation.</itunes:summary><itunes:explicit>clean</itunes:explicit><item><title></title><dc:creator>Paolo Tramannoni</dc:creator><dc:subject>Diario &#x7c; Journal</dc:subject><dc:date>2021-06-21T11:17:48+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/6800a9676d6a8513fb4daa4ce44e6c74-31.html#unique-entry-id-31</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/6800a9676d6a8513fb4daa4ce44e6c74-31.html#unique-entry-id-31</guid><content:encoded><![CDATA[I'm currently working in Dorico for things that have to be precise on the score, and I like how it gives a good foundation to start humanizing things from its humanizing algorithms.   Everything is transparent, so you can see what the machine did, and you can adjust it to your taste.
]]></content:encoded></item><item><title>Mixing compressors and equalizers</title><dc:creator>Paolo Tramannoni</dc:creator><category>Musical Instruments</category><category>Strumenti musicali</category><dc:date>2021-06-08T23:32:34+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/3201e264b239130cd842cea7a06bb055-30.html#unique-entry-id-30</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/3201e264b239130cd842cea7a06bb055-30.html#unique-entry-id-30</guid><content:encoded><![CDATA[I don&rsquo;t like the default settings of Ozone 9, but that&rsquo;s expected, and can be easily dealt with by using the plethora of fine-tuning controls it offers.


...Then come Ozone, with more surgical refinements: that precise lowering os resonance around 500 and 3500 Hz to avoid nasality; some dynamic equalizing to prevent boomy basses of annoying frequencies; some spectral shaping to remove sibilants and smoothing the highs; a bit of low end focus; and finally a hint of transparent maximizing, to balance everything and make it compliant with consumer speakers.
]]></content:encoded></item><item><title>Making a list of things to do right on your desktop</title><dc:creator>Paolo Tramannoni</dc:creator><category>Creative Work</category><dc:date>2021-05-09T17:08:28+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/e0468f46d01216bfe5290526cb504e72-29.html#unique-entry-id-29</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/e0468f46d01216bfe5290526cb504e72-29.html#unique-entry-id-29</guid><content:encoded><![CDATA[You are probably dealing with a Getting Things Done (GTD) workflow, and also keep one or more windows of your planner open, just to deal with the fact you have too many windows open. 

...Open a folder on top of one of your categories (Company Texts, Music Composition, Drawings and so on), and name it something like &ldquo;Thing to do in music&rdquo;. ]]></content:encoded></item><item><title>Dealing with Logic&#x2019;s Beat Mapping</title><dc:creator>Paolo Tramannoni</dc:creator><category>Creative Work</category><dc:date>2021-04-15T17:00:35+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/daa7fb9e718162f88a5b7f9442e5b6ea-28.html#unique-entry-id-28</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/daa7fb9e718162f88a5b7f9442e5b6ea-28.html#unique-entry-id-28</guid><content:encoded><![CDATA[After many long tedious sessions of Ctrl-Shift-dragging and hoping the beat to sticks to the desired position, and usually ending up with a bumpy Tempo track, I&rsquo;ve decided a better solution had to be found. ...  If things are a bit out, I can simply nudge the MIDI event, proportionally respace them with the Time Handles, or even add or delete events if a beat should be added or removed.
]]></content:encoded></item><item><title>Should I add a vintage analog mixer to my digital setup?</title><dc:creator>Paolo Tramannoni</dc:creator><category>Musical Instruments</category><category>Strumenti musicali</category><dc:date>2021-03-07T14:17:11+01:00</dc:date><link>https://www.studio-magazine.com/blog/files/3df926889af6a2f21b9ca12ad4e685a0-27.html#unique-entry-id-27</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/3df926889af6a2f21b9ca12ad4e685a0-27.html#unique-entry-id-27</guid><content:encoded><![CDATA[So, there was a first phase in which you recorded audio sources, making a pre-mix that would have ended into a number or tracks lower than the available inputs; and a second phase, where you reversed the inputs, and could use the same internal equalizers and the connected dynamic processors and modulating effects to process the recorded tracks. 

...While not imparting that open sound typical of much more expensive mixers, its sound possessed in any case a three dimensional quality, sort of a liquid quality making the sound sources seem to be floating in space. ]]></content:encoded></item><item><title>Mixing VSL classic libraries with the new Synchron ones</title><dc:creator>Paolo Tramannoni</dc:creator><category>Musical Instruments</category><category>Strumenti musicali</category><dc:date>2021-02-19T11:25:08+01:00</dc:date><link>https://www.studio-magazine.com/blog/files/6b88f27865b28e4c842cfa02f128ff1f-26.html#unique-entry-id-26</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/6b88f27865b28e4c842cfa02f128ff1f-26.html#unique-entry-id-26</guid><content:encoded><![CDATA[When needing Dimension Strings in more complex setups, with highly variable setups of individual players, I prefer the old VI version, because I don't have to deactivate all the added impulses and effects before using them. 

...So, I'm now living in a hybrid setup, with a core made of VI, extensions from the Synchron/BBO series, and some Synchronized instruments. ]]></content:encoded></item><item><title>Preview: VSL Synchron B&#xf6;sendorfer Imperial</title><dc:creator>Paolo Tramannoni</dc:creator><category>Musical Instruments</category><category>Strumenti musicali</category><dc:date>2020-10-07T12:43:19+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/c1819f2990a14f80a7a867fb37bceee2-24.html#unique-entry-id-24</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/c1819f2990a14f80a7a867fb37bceee2-24.html#unique-entry-id-24</guid><content:encoded><![CDATA[As for me, I would instead like to have the Tube mic, only included in the Extended version, for that slightly far-from-the-hammers sound; but the included Condenser mic seems to have the right balance between brightness and smoothness, never being harsh. 

...As much as I would like to focus on a single piano, I understand that the B&ouml;sendorfer Imperial is a much more "classical music" piano, whereas the Vienna Imperial is still a more "jazz club" piano. ]]></content:encoded></item><item><title>What&#x2019;s missing from the pre-pandemic life</title><dc:creator>Paolo Tramannoni</dc:creator><category>Societ&#xe0;</category><category>Life</category><dc:date>2020-09-19T12:49:44+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/89720e1bc489678b95219f915cc6296c-25.html#unique-entry-id-25</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/89720e1bc489678b95219f915cc6296c-25.html#unique-entry-id-25</guid><content:encoded><![CDATA[But only now I can understand how much I miss those evenings at the sea in the Italian summer, made of a kaleidoscope of people dressed to stay together in the relief from the day's heat. 

...There was a lot of people at the beach in the day, but the evenings were turned down, grey, with a sense of danger and fear of touching and being touched by the crowd. ]]></content:encoded></item><item><title>Streaming audio between two Macs</title><dc:creator>Paolo Tramannoni</dc:creator><category>Computer</category><dc:date>2020-07-09T19:36:03+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/11cd8e72c07e29d0c80ee0519f40817e-23.html#unique-entry-id-23</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/11cd8e72c07e29d0c80ee0519f40817e-23.html#unique-entry-id-23</guid><content:encoded><![CDATA[Macs can share video, so that you can use a Mac from a remote Mac, as if you were sitting in front of it. 

...Skype should choose to connect via the LAN, and not via the internet, but its audio stream will not be in realtime. ]]></content:encoded></item><item><title>Praise for the open meter and key</title><dc:creator>Paolo Tramannoni</dc:creator><category>Creative Work</category><dc:date>2020-05-03T11:55:50+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/5ac3ce77642d65af798a3b6d4eade550-22.html#unique-entry-id-22</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/5ac3ce77642d65af798a3b6d4eade550-22.html#unique-entry-id-22</guid><content:encoded><![CDATA[From the point of view of a student or beginner, having a blank staff is highly educative, since it forces one to learn how to choose the right meter and key. 

...The idea of 'flow' is at the basis of Dorico, and flow is not only the name of one of the structural elements: it's the deep philosophy of this program. ]]></content:encoded></item><item><title>Incommunicable microtuning</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Musical Instruments</category><category>Teoria musicale</category><category>Music Theory</category><dc:date>2020-04-17T12:00:50+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/c0603a3d5c6ba1b4ca0e9d6bb059c41c-21.html#unique-entry-id-21</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/c0603a3d5c6ba1b4ca0e9d6bb059c41c-21.html#unique-entry-id-21</guid><content:encoded><![CDATA[Not many DAWs, notation programs, players, virtual synths and sound libraries allow for alternative tuning and microtonal accidentals. 

...For example, a DAW or music program may allow for microtonal accidentals, but then send out a message that most sound players can't understand (like VST Note Expression vs MIDI Tuning Standard).
]]></content:encoded></item><item><title>A missing standard for keyswitching</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Musical Instruments</category><dc:date>2020-04-04T18:34:15+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/3a810883aff8144241b9c73e2a5fcb5f-20.html#unique-entry-id-20</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/3a810883aff8144241b9c73e2a5fcb5f-20.html#unique-entry-id-20</guid><content:encoded><![CDATA[What I did, in making my articulation sets for Logic, was to first create my own personal articulations/techniques map, starting from a Spitfire Audio UACC map repeated two times (UACC s 1-128, Logic 1-256). 

...Unfortunately, not all libraries are coherent in how they map their articulations/techniques, so I'm still using too many articulation sets and expression maps. ]]></content:encoded></item><item><title>Composing contemporary music in the age of sound libraries</title><dc:creator>Paolo Tramannoni</dc:creator><category>Creative Work</category><dc:date>2019-12-20T12:36:13+01:00</dc:date><link>https://www.studio-magazine.com/blog/files/aa59b88bc8982c8c615275d60c13c0e1-19.html#unique-entry-id-19</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/aa59b88bc8982c8c615275d60c13c0e1-19.html#unique-entry-id-19</guid><content:encoded><![CDATA[It&rsquo;s also the fastest way to notate some tightly integrated music gestures, made of a bundle of pitches, articulations, and expressions, that would be impossible to quickly notate with notation programs (an example: a violin playing a starting pitch, fading into a j&eacute;t&eacute; and gliding up to an uncertain pitch).


...What I had was basically a glorified piano &ndash; the same keyboard on which the greatest composers of the past loved to improvise and compose, the same white and black technological interface with music they loved to spend time imagining and feel their music &ndash; but capable to really *play*, and not only suggest, a full orchestra.
]]></content:encoded></item><item><title>Sketching libraries and quick composition</title><dc:creator>Paolo Tramannoni</dc:creator><category>Creative Work</category><dc:date>2019-11-30T12:19:58+01:00</dc:date><link>https://www.studio-magazine.com/blog/files/b8cebdbd1a04283c73e7cd37403eaee2-18.html#unique-entry-id-18</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/b8cebdbd1a04283c73e7cd37403eaee2-18.html#unique-entry-id-18</guid><content:encoded><![CDATA[Considering how good modern sampled pianos are, I find it liberating to just return to my first instrument and let it help me drawing at raw lines my music.


...String attacks may be too slow, and while you can adjust this with a controller (later or in realtime), here are you already and again facing detailed editing - the thing you were trying to avoid.
]]></content:encoded></item><item><title>The horrors of the ideas about horror music</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Musical Instruments</category><dc:date>2019-10-16T12:06:36+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/78d2047311bd3c998a0b0dcf9719e9d4-17.html#unique-entry-id-17</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/78d2047311bd3c998a0b0dcf9719e9d4-17.html#unique-entry-id-17</guid><content:encoded><![CDATA[Jump into a discussion about sound libraries like Spitfire Audio's Albion IV "Uist", Sonokinetic's Espressivo or 8Dio's CASE and CAGE, and you see that they are automatically associated to horror music. 

...In my view, however, some of these, like Uist, Espressivo and the EVOs, are simply great tools for modern classical music. ]]></content:encoded></item><item><title>Presets&#x2c; templates and the good practice</title><dc:creator>Paolo Tramannoni</dc:creator><category>Creative Work</category><dc:date>2019-10-05T12:00:48+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/0a4faf8030416d0b567d1e1325893837-16.html#unique-entry-id-16</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/0a4faf8030416d0b567d1e1325893837-16.html#unique-entry-id-16</guid><content:encoded><![CDATA[All considered, making an universal preset schema that can work for all your sounds, and arranging the sounds in a template that will make your ensemble sound coherent, is not dissimilar to tuning the instruments of an orchestra in the old times.


...Meantone tuning, for example, was one good for great sounding major thirds and decent sounding fifths, and you had to think to the most used &lsquo;modes&rsquo; to choose the best sounding intervals. ]]></content:encoded></item><item><title>Composing at the sequencer or notation software</title><dc:creator>Paolo Tramannoni</dc:creator><category>Creative Work</category><dc:date>2019-09-19T23:01:41+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/3d7d4197d513d29edc297680ab251c8c-15.html#unique-entry-id-15</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/3d7d4197d513d29edc297680ab251c8c-15.html#unique-entry-id-15</guid><content:encoded><![CDATA[If you are like me, you know that a written page of music is something more than music &ndash; it is an art in itself, where the composed symbols on the page translate into performed music, and are never just a mere transcription of resounding music.


...Still, I feel that a sequencer will continue to be my preferred tool to model sound as clay; and notation software will mostly serve for art music, where either real performers are involved, or the graphic art is simply too important to leave it to a bare Score page in software conceived for noisier music.
]]></content:encoded></item><item><title>Interlinking a score and its sounds</title><dc:creator>Paolo Tramannoni</dc:creator><category>Creative Work</category><dc:date>2019-08-27T12:19:16+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/146aa1e1483e11a7fbe1330d13a9d9a1-14.html#unique-entry-id-14</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/146aa1e1483e11a7fbe1330d13a9d9a1-14.html#unique-entry-id-14</guid><content:encoded><![CDATA[As a consequence, there is this schizophrenia for which there are times when you have to accurately listen to the resulting sound, comparing it to the one you were imagining, and put it to the test of reality.   And other times, when you need absolute silence, to prevent the wrong sounds to interfere with your creative process.
]]></content:encoded></item><item><title>Outdated pianos &#x2013; is the new trend loving something old?</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Musical Instruments</category><dc:date>2019-08-19T16:48:34+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/e7abc3a17520239c4adbf0a42d062e5f-13.html#unique-entry-id-13</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/e7abc3a17520239c4adbf0a42d062e5f-13.html#unique-entry-id-13</guid><content:encoded><![CDATA[Incidentally, not the oldest new release they had lately, since a reduced version of their Historic Winds was introduced as a Special Edition (SE) volume at the same time.


...It is not the angular, sharp piano we can listen to in modern recitals, or in newer sample libraries like the Synchron Yamaha and Steinway from VSL, or the aged after-war Steinway from the MGM Scoring Stage at Sony Pictures Studios in Los Angeles produced by Cinesamples with their CinePiano.
]]></content:encoded></item><item><title>Writing for the real&#x2c; AND virtual players</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Musical Instruments</category><dc:date>2019-07-27T12:24:08+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/366f9fd1d85c8b374752b25d6776379e-12.html#unique-entry-id-12</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/366f9fd1d85c8b374752b25d6776379e-12.html#unique-entry-id-12</guid><content:encoded><![CDATA[Let's be honest: when writing a piece for a real ensemble or orchestra, we know that it will probably remain in the realm of virtual instruments. 

...That means that we have to find a balance between writing for real instruments, and at the same time make accurate prototypes, that will have to be considered an alternative form of the final piece. ]]></content:encoded></item><item><title>Switching to a bigger computer monitor</title><dc:creator>Paolo Tramannoni</dc:creator><category>Computer</category><dc:date>2019-07-10T21:21:08+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/68415ff721a02acc826ed4e30d3bf6aa-11.html#unique-entry-id-11</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/68415ff721a02acc826ed4e30d3bf6aa-11.html#unique-entry-id-11</guid><content:encoded><![CDATA[With SwitchResX you can also automatically switch resolution depending on the foreground app &ndash; for example, a lower resolution when jockeying with files in the Finder, QHD for working with orchestral scores, and full UHD for watching movies.


...Better yet, since I find the user interface elements (text, icons, menus) too small, I can lower the scaled resolution to 2304 x 1296, that is a close approximation to what a 24" display looks like at Full HD. 
]]></content:encoded></item><item><title>A tale of two sample players</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Musical Instruments</category><dc:date>2019-06-20T11:46:23+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/d450cbaa5e5efdca41f7ea3087c9fa79-10.html#unique-entry-id-10</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/d450cbaa5e5efdca41f7ea3087c9fa79-10.html#unique-entry-id-10</guid><content:encoded><![CDATA[The move from SA is easier to understand: they need to separate from Native Instruments and their sample player, Kontakt, on which all SA libraries where based.


...The more apparent reason for this new software is that the new Synchron libraries, with their multiple mic sets, can't be managed very well with the old player.
]]></content:encoded></item><item><title>The language of music</title><dc:creator>Paolo Tramannoni</dc:creator><category>Music Theory</category><category>Teoria musicale</category><dc:date>2019-05-23T12:24:19+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/29c5bffb3a0ef682a5b5f7b41d8f3550-9.html#unique-entry-id-9</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/29c5bffb3a0ef682a5b5f7b41d8f3550-9.html#unique-entry-id-9</guid><content:encoded><![CDATA[During 1800, German and French musical technology replaced the Italian's as the dominant ones, so many French and German terms started to appear. ...  Mahler, Strauss and Schoenberg were other major influences at the beginning of the 20th Century, so there are words or abbreviations, like 'Ftzg' or 'Sprachestimme', we use as musical symbols, without even asking what they really mean from a linguistic point of view.
]]></content:encoded></item><item><title>The fast changing pace of articulation switching</title><dc:creator>Paolo Tramannoni</dc:creator><category>Musical Instruments</category><category>Strumenti musicali</category><dc:date>2019-05-22T19:50:45+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/dc4704f4dc00a87d8b69b5a812af1652-8.html#unique-entry-id-8</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/dc4704f4dc00a87d8b69b5a812af1652-8.html#unique-entry-id-8</guid><content:encoded><![CDATA[Here is how a solo violin looks in VSL's Vienna Instruments Pro, in a short video I assembled over an orchestral prototype I'm working on. Isn't it a bit like the Nineteenth Century Iron Age's mad utopia of musical automata? 


...	<video src="http://www.studio-magazine.com/video-ex/vsl/bartok-virtualized.mp4" type="video/mp4s" width="100%" controls/>
]]></content:encoded></item><item><title>Sound libraries and extended techniques</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Musical Instruments</category><dc:date>2019-05-21T19:49:17+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/bf286dc64265a4a696835cdfec1da458-7.html#unique-entry-id-7</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/bf286dc64265a4a696835cdfec1da458-7.html#unique-entry-id-7</guid><content:encoded><![CDATA[That is, those strange sounds going over the usual round technique used for crafting beautiful melodic lines, or the smart spiccato with which you push your most frantic rhythm ahead. 

...And trying to recreate a, so to say, naturally produced sound can teach a lot on the nature of instrument virtualization.
]]></content:encoded></item><item><title>Sound maps extending over 128 entries</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Musical Instruments</category><dc:date>2019-05-10T10:43:54+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/4cb065f956636eb6dcb3273a9ed389c1-6.html#unique-entry-id-6</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/4cb065f956636eb6dcb3273a9ed389c1-6.html#unique-entry-id-6</guid><content:encoded><![CDATA[Spitfire is not always coherent with their own map, and it is easy to understand why, thinking on how little conventional are some or their libraries like Tundra or Uist.


...My personal map contain many nuances, going from the basic sustain vibrato or non vibrato, or espressivo, to things like molto sul pont., with heavy pressure, or various degrees of measured tremolo. ]]></content:encoded></item><item><title>Blending Spitfire Audio and VSL strings</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Musical Instruments</category><dc:date>2019-04-05T12:07:34+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/15d6a9d401729e40a5694a528f3e5ebf-5.html#unique-entry-id-5</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/15d6a9d401729e40a5694a528f3e5ebf-5.html#unique-entry-id-5</guid><content:encoded><![CDATA[<source src='http://www.studio-magazine.com/music/sample_libraries/sfa/Legato_LCO_Vivid_VSL_Dim2P.mp3' type='audio/mp3'>


...The VSL Dimension Violins alone, with the performance trill patch selected; there is some apparent phasing, but this is typical of this particular library, exhibiting its full beauty only when everybody is playing together:
]]></content:encoded></item><item><title>VSL Vienna Imperial vs. Embertone Walker 1955</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Musical Instruments</category><dc:date>2019-03-11T15:53:37+01:00</dc:date><link>https://www.studio-magazine.com/blog/files/47ea7e5d1a79d254e407e646d3a12aa8-0.html#unique-entry-id-0</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/47ea7e5d1a79d254e407e646d3a12aa8-0.html#unique-entry-id-0</guid><content:encoded><![CDATA[The pedal, first of all: while neither the VSL nor the Embertone feature half pedal, the pedal release in the former is more gradual, and can approximate at least the effect of continuous release of the pedal. 

...While missing some important features, I feel the pedal behavior of the VSL more natural, with even a hint of repedalling (that shouldn't be there, but can be clearly noticed).
]]></content:encoded></item><item><title>Strategies to find creative time</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Creative Work</category><dc:date>2019-02-13T16:18:44+01:00</dc:date><link>https://www.studio-magazine.com/blog/files/c8649a347c9fb6e21ddab9f27b041c0a-1.html#unique-entry-id-1</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/c8649a347c9fb6e21ddab9f27b041c0a-1.html#unique-entry-id-1</guid><content:encoded><![CDATA[How to deal with the lack of time for writing or composing? 

...B) Schedule all the work in a bundle of weeks or months, then plan a few weeks for composing. ]]></content:encoded></item><item><title>Logic&#x27;s undervalued plugins</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Musical Instruments</category><dc:date>2019-01-30T16:27:22+01:00</dc:date><link>https://www.studio-magazine.com/blog/files/04fbc3585b8c5d5ac4d62a6a388cdda0-2.html#unique-entry-id-2</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/04fbc3585b8c5d5ac4d62a6a388cdda0-2.html#unique-entry-id-2</guid><content:encoded><![CDATA[You pay them with the hardware, and the software is sold for an incredibly low price. 

...And the existing processors, like the Channel and Linear-phase EQ, the Multipressor, or the SpaceDesigner reverb, have never been second-choice.
]]></content:encoded></item><item><title>Orchestral prototypes</title><dc:creator>Paolo Tramannoni</dc:creator><category>Creative Work</category><dc:date>2017-11-29T18:22:58+01:00</dc:date><link>https://www.studio-magazine.com/blog/files/d15d09f7115f7c0ada01d752704b7814-4.html#unique-entry-id-4</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/d15d09f7115f7c0ada01d752704b7814-4.html#unique-entry-id-4</guid><content:encoded><![CDATA[What once was done with a real piano, or even with the family or friends reading your freshly written music in the evening, is now done with this sophisticate keyboard instrument that is the sampler.


...VSL, Orchestral Tools, Spitfire Audio are adding more and more of these techniques, even if their core business is not mainly this niche, but the modern composer for media in advanced markets (like the sophisticate world of film and TV production in London, Paris or Berlin), where using the most recent vocabulary is allowed and even required.
]]></content:encoded></item><item><title>Instruments and their colors</title><dc:creator>Paolo Tramannoni</dc:creator><category>Strumenti musicali</category><category>Musical Instruments</category><dc:date>2017-08-03T18:21:17+02:00</dc:date><link>https://www.studio-magazine.com/blog/files/edad91ff7140f2335a1d2ebc9a63f074-3.html#unique-entry-id-3</link><guid isPermaLink="true">https://www.studio-magazine.com/blog/files/edad91ff7140f2335a1d2ebc9a63f074-3.html#unique-entry-id-3</guid><content:encoded><![CDATA[When having to choose color-codes for my DAW's tracks, I like to use earth-inspired color codes: Green as the grass for the strings, because it is there that most of the life happens. 

...I've tried with the colors of the dominant color in each instrument family, but I just can't identify strings with brown-reddish, or clarinets with black. ]]></content:encoded></item></channel>
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