Wiardgroup

> Time is money. Who
> has the time to diddle with patches and record monophonically when
> you can push a button and play with all ten fingers? 

Ooo...I could go on and on about this one...

If you're doing any type symphonic simulations, playing with all ten 
fingers is the last thing you want to do. String section? Not gonna 
sound right unless 1st, 2nd, 3rd and 4th violin parts are all played 
separately. Same for any other section.

Even if you're not doing "symphonic" and are using "synthy" voices, it's 
still more expressive and interesting to build tracks up one part at the 
time. You learn your gear and you learn to move fast.

Sure, you could plop all ten fingers down on preset #27 and let the 
resulting pad morph away for 30 seconds and "that's good enough for this 
scene, let's move on" but what you just did sounds just like 1273 other 
folks that are trying to get scoring work as well. Keep that up and 
there'll be no distinguishing you from the next guy in line.

Now, if you're doing "pop/dance/radio.." type stuff and just need a pad 
in there or some e-piano comping, fine, 10 fingers. Go for it. But 
you'll *still* have a better sounding track if you don't go that route.

For the commercial and soundtrack work that I do - I manage to use my 
modular on almost every track. I don't want to sound like everybody else 
and keep using the same sample library/presets all the time. This helps 
give me an more individual voice - literally and figuratively - than 
those that don't take the time.

I may not be rich, but I get nice checks from ASCAP and I'm happy with 
the work that I do and most of my clients are repeat business, so I must 
be doing something right.

The knobs and blinking lights are *not* window dressing to impress 
clients. They're another tool to be used in the creative process of 
shaping just the sound you need to fit the job your doing.

My two cents worth anyway...

-- 
Les Mizzell
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Certe, toto, sentio nos in kansate non iam adesse
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