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  4. Difference in eq between orchestral strings 1-2 and portamento

  • Difference in eq between orchestral strings 1-2 and portamento

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    I don't know why but suddenly my ears became hugely sensitive to this or my sample is not coming out right. On orchestral strings 1-2, there seems to be a difference in eq between normal legato orchestral violins and portamento violins. The portamento sounds like the highs are cut off. When I listen to appa, I see no difference in eq between those 2. So is there a problem with my sample or is this normal? And it's not that I dislike it, I suspect it's the portamento effect, I just need to know if it's normal. Funny how after all this time I only really notice this now.
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    @Guy said:

    On orchestral strings 1-2, there seems to be a difference in eq between normal legato orchestral violins and portamento violins. The portamento sounds like the highs are cut off.
    I'm not hearing that, just differences of timbre caused by the legatos being two-dynamic and the portamentos single-dynamic. Sure you didn't load the muted portamentos by mistake?
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    Thanks for the reply Conquer, it's possible that I didn't have my usual cereal yesterday for breakfast, seems pretty ok today just not 100% sure. I compared it with the muted and it's definitely not the same timbre, so not that. But although I think everything is normal, what I would of really appreciated is if someone could record a slow arpeggio with orchestral strings 1-2 perf legato violin, and then the same arpeggio with portamento orchestral strings viol leg. and put a link here for me to hear. Thanks. Guy
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    Portamento never leaves the string it begins on - correct? So you won't get the normal transition to a brighter/higher string that a string player will go to for ease of playing in various positions on the fretboard. Just a thought.
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    Good observation. Didn't think of that.
  • M
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     You're not crazy, Guy -- ive noticed it and it's bothered me, too. I just didnt bother to say anything, because aside from small nuances like this, VSL instruments are still amazing. I guess it sticks out more to me because i usually play most my stuff at the absolute lowest velocity, ppp... and the transitions  for portamento seem to have been performed at a much higher volume, mf or greater.

    Although it would be nice if we could imagine a VI that had like 8 velocity layers and transition samples FROM each layer TO any of the other layers. Imagine that! 24 note-transitions within each up/down octave, and then for each dynamic level (from ppp to pp, then from ppp to p, then from ppp to mp...etc) Hehe that'd be quite a lot of data; somethin like 192 different samples PER NOTE! (And that's not counting alternations)

    Okay VSL get to work on that right away! [:P]

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    @Another User said:

    it would be nice if we could imagine
    I think that's the key phrase![;)]