Hello Plowman
1.I am using HALion 2 and the EXS samples from my Opus1 discs for this job. I own GS160 but could never get my head around the editor. Without wanting to get into a debate about which one is better, I have to say HAL beats GS hands down (IMHO) when it comes to editing and "getting at" my samples. After I have lengthened the sample (using Samplitude Pro 7) and copied it back into the same folder it originally resided in - making sure to rename it exactly the same - HALion simply plays it without having to re-assign or remap anything. So the whole focus is on the crossfading.
2.You raise an interesting question: could an .art file crossfade the samples, given that all the samples are from the same original family.
I don't know. Any Giga experts care to comment?
3.The length of the target notes is not an issue. I found that I only needed the small portion at the start (the all-important "slide"). There are timbral & vibrato differences between the legato samples and the main sustains which, unless crossfaded immediately after the "slide", become noticeable. An added bonus is the absence of vibrato at the beginning of the main sustain samples. This makes for realistic onset of vibrato AFTER a transition sample (a dead giveaway on some libs where the vibrato is too "established" after the new note is played). I treated each note differently to get as much natural variation as possible when playing them all together.
4. On average, about five minutes per crossfade. Here's the rundown:
a) In your wave editor (in my case, Samplitude), set up two stereo tracks.
b) In the top track, load the transition sample (eg. VI-14_leg_f_2-up A#3)
c) In the bottom track, load the sustain sample of the same pitch (ie.VI-14_mVsus_f_A#3).
d) Do the crossfade immediately after the attack portion of the transition sample, using appropriate curves. A slow crossfade works best.
e) Bounce the crossfaded samples as a 16bit stereo wav file to a seperate folder called "My VI-14_leg_f_2-up".
f) Copy the sample into the original VSL sample folder of the same name.
5. No, no release samples in this project. Personally, I don't think they are necessary for something like legato strings. They can break the seamless effect that the Perf Tool creates. Only my opinion, of course. [[;)]]
Regards,
Mike.
1.I am using HALion 2 and the EXS samples from my Opus1 discs for this job. I own GS160 but could never get my head around the editor. Without wanting to get into a debate about which one is better, I have to say HAL beats GS hands down (IMHO) when it comes to editing and "getting at" my samples. After I have lengthened the sample (using Samplitude Pro 7) and copied it back into the same folder it originally resided in - making sure to rename it exactly the same - HALion simply plays it without having to re-assign or remap anything. So the whole focus is on the crossfading.
2.You raise an interesting question: could an .art file crossfade the samples, given that all the samples are from the same original family.
I don't know. Any Giga experts care to comment?
3.The length of the target notes is not an issue. I found that I only needed the small portion at the start (the all-important "slide"). There are timbral & vibrato differences between the legato samples and the main sustains which, unless crossfaded immediately after the "slide", become noticeable. An added bonus is the absence of vibrato at the beginning of the main sustain samples. This makes for realistic onset of vibrato AFTER a transition sample (a dead giveaway on some libs where the vibrato is too "established" after the new note is played). I treated each note differently to get as much natural variation as possible when playing them all together.
4. On average, about five minutes per crossfade. Here's the rundown:
a) In your wave editor (in my case, Samplitude), set up two stereo tracks.
b) In the top track, load the transition sample (eg. VI-14_leg_f_2-up A#3)
c) In the bottom track, load the sustain sample of the same pitch (ie.VI-14_mVsus_f_A#3).
d) Do the crossfade immediately after the attack portion of the transition sample, using appropriate curves. A slow crossfade works best.
e) Bounce the crossfaded samples as a 16bit stereo wav file to a seperate folder called "My VI-14_leg_f_2-up".
f) Copy the sample into the original VSL sample folder of the same name.
5. No, no release samples in this project. Personally, I don't think they are necessary for something like legato strings. They can break the seamless effect that the Perf Tool creates. Only my opinion, of course. [[;)]]
Regards,
Mike.
