The Second Note - Realstic Strings Using Kontakt VSL

[dynamicalan]

I've been thinking of another issue. This is better noted as "the second note". It's is to say that if each note in succession is the same sample then it's more like the film the film again and the film again all on separate notes as an example - not about the transition of the legato note. I will start another post about this. I'm wondering if keys switching is a way to go. As far as section strings go; I've started a Kontakt string section of solo strings where each can be controlled separately. This is using the same sample or sample group from note to note.

This is an additional post on the subject of realistic orchestra if it's okay to post. I've been looking at "Personal Orchestra" as a second library.

[Len911]

I've been thinking of another issue. This is better noted as "the second note". It's is to say that if each note in succession is the same sample then it's more like the film the film again and the film again all on separate notes as an example - not about the transition of the legato note. I will start another post about this. I'm wondering if keys switching is a way to go. As far as section strings go; I've started a Kontakt string section of solo strings where each can be controlled separately. This is using the same sample or sample group from note to note.

This is an additional post on the subject of realistic orchestra if it's okay to post. I've been looking at "Personal Orchestra" as a second library.

I'm not for certain what you are asking. The second note as in a round robin? Key switching may or may not be an option depending on the sample set you choose to buy. As far as using sections or solos to make your sections, I would say using the sections might be a better choice for a few reasons, the sections might have been performed and recorded together, or they blended solo samples that worked and left many more on the cutting floor. Using solo samples for sections more than likely will leave you very little samples to choose from making your section.

[dynamicalan]

Hello,

I'm sure about "Round Robin" except for Spectrasonic's. What I am talking about is the linear movement of a part. If we break this down this to a single instrument we are questioning if the succeeding notes being the same sample but just on a different note works to create realism rather than finding a way to give variation to the sample over time. It's very possible to mask the general sound by adding variation to each instrument in the section but over time the linear aspect stays the same each note being a duplicate of the last.

[Len911]

Hello,

I'm sure about "Round Robin" except for Spectrasonic's. What I am talking about is the linear movement of a part. If we break this down this to a single instrument we are questioning if the succeeding notes being the same sample but just on a different note works to create realism rather than finding a way to give variation to the sample over time. It's very possible to mask the general sound by adding variation to each instrument in the section but over time the linear aspect stays the same each note being a duplicate of the last.

Are you considering the samples in the different velocity layers? Sure, if you only have one sample for each of the possible 128 velocity layers you are getting the same sample no matter what the velocity with only a difference in volume. I'm not familiar with Kontakt VSL, but the difference is probably that the regular VSL has more velocity layer samples. So for example, for the same legato patch the Kontakt vsl say has 5 velocity layers but the regular vsl legato might have 10. If you used the same velocity for each note, there wouldn't be a difference between the Kontakt version and the regular version. The velocity value of each note will determine what sample is played. For example, sample A covers velocity level 20-25, Sample B covers 26-31. you have 2 quarter notes in succession that use the same note, say C4. To use the different samples, you set the velocity of the first quarter note C4 to 25(sample A), and the second note to 26(sample B). If both notes are set to 25, they both use sample A, 26, sample B.

In the 'real' world more force=higher velocity= higher volume, but in the virtual world it's possible to change the gain and possibly having the lower velocity at a higher volume than the high velocity sample. One way to kill realism.

Linear movement and variation to the movement over time, the velocity (sample) is set for the entire note, so once you choose your sample, you can modulate the volume by using CC11(expression). Of course the longer the note, whole note versus an eighth note, will have a more noticeable effect, the latter probably none at all.

Depending on which tool you use on the sample determines whether you are merely masking the sound or not. Theoretically, in the sense that probably no one does it, you could change the adsr settings for a note. You have to be careful, you don't want to change a piano to sound like an organ for example, though softening the attack a smidge is changing the sample or sound. Practically though, if you played a sample and say an alternate sample, (as in a round robin sample) you won't hear that much difference, if you can tell any difference at all. In fact, I'm not sure I would do that well if given a test on whether an up bow or down bow was used, I might do better on the slow ones versus the fast ones.

[dynamicalan]

Hello,

Thanks Len. I think each player in a section is bowing together excluding that type of bowing that calls for all different bowing. What I do think might be happening is differences in bow pressure - very slight as it may be also adds to the product. I'm not sure the CC number for that. However, you have some great points and those alone really help the realism of the string section.