String legato tips?

[ITBAudio]

Legato gets thrown around a lot...any tips from the seasoned pro's?

I'm working with Spitfire Audio plug-ins, automating dynamics and expression are the obvious ones, as well as playing with the the release, but any tips on scoring great legato?

[edmondredd]

Not really sure I get your question as well, but I'll give you some of the techniques I use with legato strings for them to sound more realistic.
1. Don't play them as a keyboard player would do. Even when you're playing an ensemble patch, try to think of it as a string ensemble, and try to assign notes to each of the sections.
2. Timing of the notes: usually legato notes tend to have slower attack, they're most of time late by a fraction of time. Make sure that their starting point is on the beat (or close enough).
3. Depending on the library you're using, you might have slurs, portamento or a simple legato if the notes are overlapping. Just make sure to have this nice legato feel you're after.
4. Automation. You know about those already.
5. Arrangement: I usually try to have different notes play at different times instead of chords simply playing. Also, try to find a common note to the chords you're playing and hold it instead of re-trigerring it again.
I hope all of those make sense,

[MBantle]

It is just my personal experience but I played around with lots of the better string libraries (e.g. Spitfire etc.) but even with a lot of editing they all sound like a mockup to me and cannot compete with the sound of a real orchestra... I'm sure other members will disagree with that. I think 'writing to the samples' is a good way around, e.g. applying 'the circle of attention', which means you change articulations frequently to disguise the weaknesses of the respective VI and/or only use those notes/transitions that sound good in a given patch but is that really a fulfilling experience if your composition calls for 30 seconds of constant legato in the violins (just as an example)? I eventually decided not to specialise in genres that rely heavily on string libraries (no problem though if they are not prominent in a mix...) but - again - that is just me. If you think of it: The pros (Hans Zimmer etc.) do mockups with samples but for the final version have it recorded by a real orchestra whereas a pop/hip hop producer's VIs in most cases sound good enough to stay on the final mix. So quality wise relying on orchestral VIs as the only tool seems short sighted in the first place unless you are happy with producing 'compromises' on a constant basis as opposed to 'real deal' productions.
I hope this post is controversial enough to have a fruitful conversation
Cheers,
Matt