In the whole Special Edition Plus library, there are just 6 different configurations for velocity layers. One being unique for the crotales only. Another being unique for the timpani. So, actualy, only 4 velocity configurations are to be in concideration, which are:
3 velocity configuration for strings, woodwinds and brass:
2 layers with p = 0-88, f = 89-127
3 layers with p= 0-55, mf = 56-108, f = 109-127
4 layers with p= 0-55, mp = 56-88, mf= 89-108, f = 109-127
1 velocity configuration for drums, cymbals and gongs:
6 layers with pp= 0-30, p=31-50, mp=51-70, mf=71-90, f=91-110, fff=11-127
In order to get optimal results, it would be very interesting to know a bit more about how velocity cross fading is implemented. To be more precise; 1) what's the bandwith for each velocity 'breakpoint' (sorry, a simpler word doesn't come up) and 2) is crossfading implemented lineair or ... ? Or in other words, 3) with which velocity values do I hear only one sample and with which values do I hear the cross faded samples. And 4) how much are they cross-faded? 5) Do all the instruments with the same velocity configuration, have the same cross fading implementation?
This is especially important to get the horns sound better because they are the only patches with 4 velocity layers. Which makes the velocity values unique in the range of mp and mf. For example, the default value in Sibelius for mf is 84. But the mf velocity layer for the horns is triggered at 89 and above. Which means that with the standard Sibelius values, the mf patch in the horns will never be trigger, only in crescendo/decrescendo situations from mf to f and vice versa.
Of course, I can also do this by ear but some facts would be great to know.
Really hope you can help on this.
Abração,
Wim