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  • Gebundene Ausgabe: 720 Seiten
  • Verlag: Focal Press; Auflage: 4th edition. (12. April 2010)
  • Sprache: Englisch
  • ISBN-10: 0240814134
  • ISBN-13: 978-0240814131
  • Größe und/oder Gewicht: 3,8 x 19,7 x 24,8 cm
  • Durchschnittliche Kundenbewertung: 4.0 von 5 Sternen  Alle Rezensionen anzeigen (2 Kundenrezensionen)
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Über den Autor und weitere Mitwirkende

Paul Gilreath is an award-winning composer who creates original music in a variety of styles for video games, film, television, trailers, and broadcast advertising. Gilreath has written theme, underscore and broadcast advertising music for a wide range of clients that include NBC, CBS, Cartoon Network, ESPN, American Airlines and many others. His music has been used multiple times for the Olympic Games broadcasts on NBC and several PGA tournaments on NBC. He scored the feature film No Retreat No Surrender starring Jean Claude Van Damme, Knights of the City starring Curtis Mayfield, and Making Contact directed by Roland Emmerich (Independence Day).

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Von Jan Foege am 16. Februar 2014
Format: Gebundene Ausgabe Verifizierter Kauf
Kein Kochbuch, sondern eine anständige Auflistung nützlicher Tipps und vor allem Basics in Sachen Orcherstration und Instrumentenarrangement. Macht Spaß! Das Thema DAW und Libaries ist etwas veraltet, aber die essentielle Grundlagenvermittlung ist top!!!
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Von Tim am 2. April 2014
Format: Gebundene Ausgabe Verifizierter Kauf
Schöne Schilderung von Produktionsprozessen in der modernen Musik. Allerdings ein bisschen veralteter Standard. Nur für Leser geeignet, die mit Englisch wenig Probleme haben!
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Die hilfreichsten Kundenrezensionen auf (beta) 31 Rezensionen
13 von 13 Kunden fanden die folgende Rezension hilfreich
good electronic composing book 3. Januar 2011
Von Jon Norris - Veröffentlicht auf
Format: Gebundene Ausgabe Vine Kundenrezension eines kostenfreien Produkts ( Was ist das? )
This is a well written guide to composing music, especially orchestral music, using virtual (digitally sampled) instruments in a computer environment.

It has a good introduction and guide to orchestras and orchestral music, with much information on composing and use of instruments, fully 6 chapters worth.

Chapter 8 begins the discussion of software, and the author's information is quite good, although destined to obsolete quickly. He covers the current "top" packages for this arena, such as:

MachFive, Halion, EXS 24, Kontakt, Sonar, ProTools, Digital Performer, Nuendo, and Logic Pro. Many plugins and related software are also covered.

The book is quite thorough in approaching composing for an in-computer orchestra. The vital parts of composing in general are also covered.

He also gives a small plug to Mackie mixers (I have also used and love the venerable 1604).

The only downside I can name is a fault of Focal Press and its method of handling web sites connected with their books - I hate having to register and create a complicated account just to get the extras which are supposed to come with purchasing the book. this is an outdated marketing tactic which wears thin in this day and age.

If I was going to compose for an orchestra, especially a virtual one, I would study this book carefully.
18 von 20 Kunden fanden die folgende Rezension hilfreich
The Authoritative Guide 21. Oktober 2010
Von Elisa 20 - Veröffentlicht auf
Format: Gebundene Ausgabe Vine Kundenrezension eines kostenfreien Produkts ( Was ist das? )
There are two kinds of people who would most benefit from this book--composers who are professionals in Midi orchestration and teachers specializing in this subject. For novices, I offer this quote from the book, "It is no secret among those who arrange for both real and MIDI orchestra that it is far easier and less time-consuming to arrange for a real orchestra. In MIDI orchestration, you have to do twice the work."

The book breaks down the chapters by instrument classification (string, woodwind, etc.) then into later chapters of "Sequencing Techniques" by classification (for string, woodwind, etc.) It follows with mixing, creating mood, effects plug-ins, and so on to "achieve the goal of creating realistic reproduction of a symphony orchestra sound using samplers and computer recording techniques"--all this, by way of combining technical skills with musical artistry.

A specialized book, but I will say that the information on orchestral music and instruments/instrumentation in general made for interesting reading/review for the non-specialist. If you are "just" a serious hobbyist, I think this could also be an essential reference book, and probably would encourage "expanding the boundaries" of what you do/know/are comfortable with--always a good thing.

Oh, and the website referenced here, on this Amazon review page, works just fine.
7 von 7 Kunden fanden die folgende Rezension hilfreich
Excellent reference for MIDI orchestrators 1. November 2010
Von Bryan Cass - Veröffentlicht auf
Format: Gebundene Ausgabe Vine Kundenrezension eines kostenfreien Produkts ( Was ist das? )
I'm going to rate this book 5 stars because I think it accomplishes exactly what the author has set out to do. That is, to give people who need to write professional, realistic-sounding 'classical' MIDI arrangements a reference guide on how to make MIDI playback sound like a real orchestra.

The main hurdle to attain realistic orchestra sounds is to know how the real instruments are played and then to try to reproduce that using different samples, envelope parameters, volume, panning, etc. Since samples are static recordings of each instrument or section, you must bend or tweak the samples to mimic the human nuances that may not be included in the sample. For example, this book tells you how to make your violin samples sound legato, staccato, how nuance the up-bown or down-bow techniques, glissandos, etc. It tells you how to balance a whole string section, where in the sound field to place the sub-sections, which sections should dominate in various styles of music, etc.

That said, this book is not meant for the newbie MIDI composer, armed only with their Casio keyboard and a shareware sequencing program. No, this book also will lay out the various computer hardware you will need to produce professional recordings (we're talking video game, Hollywood movie soundtrack, TV commercial quality), and the software that you will need as well. In addition, you will need to purchase sample libraries that are comprehensive - meaning having several samples for each instrument; like samples at a low volume, mid volume, high volume, staccato attacks, legato attacks, etc... you get the picture. Some knowledge of both computer hardware/software AND of musical terminology and/or musical experience is expected. The author uses words like glissandi, ostinato, attack/decay, and expects you will know or learn musical terms in order to understand how to reproduce musical techniques in MIDI form.

I must admit that I'm an armchair MIDI person, myself; all I have is my Yamaha keyboard and Finale. But I am inspired by this book to go deeper into arranging compositions myself. I certainly don't have the time or money to produce professional MIDI orchestrations, but this reference guide has helped me understand how to make my simple little arrangements more realistic and interesting to listen to. I also found the in-depth explanations of each instrument and how it is played (and reproduced in MIDI) interesting and helpful. It's a well thought-out book that benefits from the author's practical experience and trials with composing MIDI orchestrations.
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Superb Reference 23. September 2010
Von Michael Brent Faulkner, Jr. - Veröffentlicht auf
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Paul Gilreath writes a thorough reference with Guide to Midi Orchestration 4th EDITION. The original incarnation of this guide reared its head in 1997, with the 4th edition debuting in 2010. The reference is fantastic for those with interest in the music technology realm, specifically those who are interested in classical music production involving MIDI, etc. Overall, the reference is easy to follow, though it is easier for those who have a grasp on the concepts of music production and classical music. This reference is for the musical enthusiast with knowledge - not the "green" amateur. Even the consummate musician interested in MIDI orchestration may find later discussions on specific technological knacks the slightest bit intimidating. That aside, Gilreath's guide is everything and more than you need to know on the topic; a very sound reference.

Within the Introduction, the author defines "midi orchestration" and summarizes his book to the effect "... to achieve as much realism in your MIDI orchestration as possible (page xiii)." Chapter One, "Introduction to the Orchestra," provides a brief history of the orchestra and urges readers to see live concerts, take college courses (Music Appreciation), read texts, and listen and study CDs/scores of classical music. Additionally, the chapter provides information about important classical composers and film composers. Finally, the chapter closes with a section on `objective listening' when listening to classical music and when orchestrating via MIDI. That's just the first chapter!

Chapters two through six cover specifics of each group of instruments (String, Woodwind, Brass, Percussion, and Harp/Piano). Thorough, it provides a "schooling" for those who need a "brushing up" or an education in orchestration principles. Chapter seven, "Orchestration Basics" is among the meat of the text (forty pages) differentiating between `compositional' and `orchestration' goals, dividing composition into three elements (primary, secondary, and tertiary) and detailing how the roles/combination of instruments fall into those compositional elements. Chapter seven is informative, but also very extensive and may be a lot for the reader to swallow in one setting.

Chapter eight, "Equipment and Software Solutions," provides information about necessary equipment and specifications of that equipment. Very thorough, there is a plethora of information here that covers most equipment used by the multitude, specifically keying in on DAW and music notation software. Chapter nine, "Recording Note Data," is a proper follow-up, focusing on the mechanics of recording in DAW and notation software.

Chapters ten through fourteen focus on specific `sequencing' principles and techniques in strings (ten), winds (eleven), brass (twelve), percussion (thirteen), and harp/piano (fourteen). Here, "library" choices for and the position of instrumentation is considered as far as MIDI orchestration.

Chapter fifteen, "Creating Tempo Changes," proves to be self-explanatory as does Chapter sixteen, "Effects Plugins." Within chapter sixteen, effects discussed include reverb (extensive coverage and diagrams form DAW's provided), equalizers, delays, dynamic processing, and miscellaneous plug-ins.

Chapter seventeen and chapter eighteen deal with sampling. Chapter seventeen, "Software Samplers" defines a `sampler' and gives specifics about compatibility with DAW, etc. Chapter eighteen, "Using Sampled Voices" provides background of the use of orchestral accompaniment with voices. Additionally, voices are profiled here providing diagrams of ranges, orchestration and voice leading principles, and vocal libraries available for sampling purposes.

Chapter nineteen, "The Mixing Process" discusses the magnitude of mixing, specifically keying in on the position of instruments and effects. Chapter twenty, "The Vienna MIR," deals with mixing with specific software program Vienna MIR. Twenty-One, "Mastering Your Music," includes interviews with three top mastering engineers (Bob Ludwig, Bob Katz, and Patricia Sullivan Fourstar). Twenty-two and Twenty-three are self evident chapters dealing with orchestral moods in orchestration ("Achieving Specific Moods with your orchestration") and orchestral libraries ("Introduction to Orchestral Libraries").

Three appendices close out the reference: Appendix A (Ranges), Appendix B (Frequency ranges in descriptive terms), and Appendix C[...]. Additionally, an index appears.

Overall, this is a very complete reference that can grow intimidating at times. However, it is great that there is ample information as opposed to a lack. I highly recommend this text.
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The orchestra in your bedroom 29. Oktober 2010
Von David Field - Veröffentlicht auf
Format: Gebundene Ausgabe Vine Kundenrezension eines kostenfreien Produkts ( Was ist das? )
I came to this country in 1997, wearing only the clothes I stood up in.

I passed a welcoming cardboard cut-out of Ronald Reagan, welcoming me to the US. In spite of this, I pressed on, my Casio CZ-101 in my hand.

Fast forward about a year later to the Berklee College of Music, for a meeting of the Boston Computer Society's Computer Music Group. More than half the audience had never attended a meeting before, and the topic was pretty technical. I spoke up and said that maybe they needed a series of introductory meetings to get people up to speed. I basked in the glory of suggesting the obvious for about four seconds, until someone said, "Would you be able to run this?" And that's how I ended up running the "Intro to MIDI" course for several years.

At that time the MIDI spec was less than ten years old, and there was constant suggestions about something usually called "MIDI 2," but each time someone proposed it, it had a different form. The speed was ridiculously slow - 31.25 KHz, compared to the hundreds of MHz of today's computer interfaces. But what kept MIDI in its standard form (it's had some additions, but no major changes from the original) is that it functioned like sheet music - largely an instruction of which notes to play.

At the same time, the cost of sound-generating equipment has dropped considerably. My only involvement with MIDI these days is one of Casio's home keyboards. Most of the sounds it offers are real enough to fool the casual listener, yet it costs under $200. One box can sound several different instruments at once, and MIDI controls them all.

At the time I was working out the basics of my course, the first edition of The Guide to MIDI Orchestration was published. It's now in its fourth incarnation, which shows how well its stood up. These days it's a big hardbound book, but the information is still as well-put as before. Paul Gilreath is an expert on both orchestral instruments and electronic music, and it shows all the way through this book.

So if you want to make the sound of an orchestra in your bedroom, this is the book for you.
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