Hi,
Using NP for all instruments in Dorico, and working fine.
Brass cup mute and other brass mutes are all very quiet (with NP), regardless of dynamic level.
Also, all the mutes seem to sound the same (and are all very ppp).
Been thru the forum, and didn’t spot this issue. Sorry if I missed it.
Haven’t tried the mutes with a Halion or another VST other than NP.
Thanks much for any thoughts!
John
I’ve had a similar experience. Harmon/cup distinction way too subtle, if present at all, if memory serves.
It probably wouldn’t hurt to let Arne @Wallander know, so he can respond.
Thanks. I checked, and all brass mutes in NP are barely audible.
Can check again.
John
Thanks. Think I just sent the message on to Arne. Haven’t forwarded messages before. Clicked on the @Wallander, and it set up a message.
John
Can you upload a project that demonstrates this? I cannot reproduce the audibility problem with NP5.
Our mutes should, at a minimum, produce noticeable results. If the sound is similar to the open sound, the articulation probably doesn’t trigger as expected.
The difference should be noticeable but not extreme. Our mutes are filter-based and modeled after real mutes. That said, the effectiveness of a mute may vary depending on the underlying instrument, and they’re ultimately just simulations.
Can I ask if they’re applied to the trumpet or another instrument?
Thanks for the prompt reply.
It’s a cup mute attached to a Bb trumpet.
I set all the velocities to maximum, and now seems to be working OK! Go figger!!
I’m uploading the project just in case you want to take a look. Mute starts at end, ms. 77.
Janus kindly asked me to upload, but doesn’t seem needed now.
I’m still wandering thru the Dorico jungle, so the likelihood is it’s something I did, maybe a wrong setting. If so, would be helpful to know!
Anyway, thanks to all you guys (and gals?) for the help!
John
Pete Kelly’s Blues- 2.dorico (1.6 MB)
I’m glad to hear it worked out!
Since mutes mostly shape the timbre by removing low- and mid-frequency harmonics, it’s critical to have a sufficiently bright baseline sound. It will be less effective on a cornet than a trumpet, or any brass instrument that plays very softly.
@Wallander, in my experience the harmon mute is rather subtly different from straight and even cup. I’m assuming at least the baseline for it is stem fully inserted? Is there a way to set it with the stem removed? (If not, any plans to add that?)
Thanks so much!
Common sense, but didn’t know that. Very valuable information.
I’m using the muted trumpet so that I can use a brass instrument, but still keep the melodic line separated from the open brass harmonic background.
John
Someone replied to your post.
| Wallander
April 8 |
- | - |
John_Chester:
I set all the velocities to maximum, and now seems to be working OK! Go figger!!
I’m glad to hear it worked out!
Since mutes mostly shape the timbre by removing low- and mid-frequency harmonics, it’s critical to have a sufficiently bright baseline sound. It will be less effective on a cornet than a trumpet, or any brass instrument that plays very softly.
It’s not something we plan, but I will make a note in case we revisit it in the future.
Our current mute offering was based on what could be mapped in Sibelius. Dorico didn’t exist at the time. Meanwhile, the Sibelius articulation dictionary makes no distinction between stem in/out for harmon mutes.
Unless I’m mistaken, our current harmon mute is modeled from a stem-out sound. This is my personal view, but I find it more idiomatic for the harmon mute. Much like a stopped horn, it produces a very distinct U-shaped spectrum (preserving the extreme highs and lows). Without the possibility of wah-wah, it’s nevertheless just a subset of what the harmon mute can do.
If what is currently there is the stem out (removed) sound, then I’m not hearing it, so must be doing something wrong. It’s been awhile since I called for it in a project, but I’ll check it out soon and review this thread to see if I can get better results.