@mcelvogue said:
... so I'd happily welcome all and any feedback on that front as I'm not a string player and in comparison to many on this forum I am also a rank novice in the use of VSL/Midi.
Hi Tom
"Slow-Tempo-Pieces" are very difficult to play with samples because our ears (actually our brain) have a lot of time to compare sounds which have been with the current one. So the feedback from my side is about this point.
So even the legato of the solo violin is beautiful it is a bit boring over the time. Further the violin player knows after 20-30 seconds for sure: This piece is played with samples. What could you do? Try to use all! of the possible articulations.
- Sus with Vib
- Sus without Vib
- Sus with prog Vibrato
- Espressivo
- Legato (unfortunately legato often uses the sustain articulation - combined with the legatosound)
- med Crescendo/Diminuendo 2s, 3s 4s,...
- Crescendo/Diminuendo
- pfp
- fp
...or what ever you have with a certain instrument.
So start with a 4s Crescendo (even if you only use 2s) and switch then into legato and end the musical bow with a diminuendo of 1.5s (If you have VIPro you also can shorten/lengthen those dims and cresc).
Using Dynamic Articulations will help to increase the feel of "real play" because musicians normally vary the volume within a long played note. You can use the X-Velocity function by the way. Unfortunately it isn't very helpful with solo instruments because of phasing issues while crossing the different layers. But with ensembles it is a must in connection with slow tempos.
I know that reaching a good result will need even more time that way... 😔
But the results are even closer to the reality. Listen to this example (done in 2008) it shows the use of all those mentioned articulations above and in the mean time the solo-, chamber-, orchestra-, appassionata-library - still not quit perfect arranged...
All the best
Beat