Getting realistic sounding dynamics seems pretty tricky. I have a few questions about how to do this, so here goes:
Does Expression differ from velocity X-Fade in that Expression only changes the volume within one velocity layer? It seems like Expression controls the distance to the sound. But with X-Fade I can hear the timbre changing.
If X-Fade provides a more realistic adjust of dynamics, when should I use Expression?
Since the dynamic range floor controls the range of sound levels, should I always keep set this to its maximum setting for the most realism?
If I am going to use reverb, should I add it before I set the dynamics?
Should I add the dynamics to the loudest and softest points in the section first and use them as reference points?
And if anyone can give me any other tips on adding dynamics I would appreciate it.
Thanks in advance
-Silver
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Realistic dynamics with VSL
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Hi there
Setting the dynamics can be a bit confusin at first because there are several ways you can do it. You'll have to find out which one suits you best for yourself. However, here are some pointers that I can give. For the sake of simplicity I'll assume that you are working with VI Pro, and that you use CC1 to control dynamics. CC7 is the master volume, cc11 expression.
In VI Pro is a slider called DynR (Dynamic Range). The higher the value there the larger dynamic range the instrument will cover. If you set it to zero all sounds will be equally loud, no matter if there are any movements in cc1. The dynamic range therefor will be 0 db. If you set DynR to 127, using a cc1 value of 0 will produce a sound of 0 db (= inaudible), a cc1 value of 127 will produce the loudest possible sound. For starters you can set DynR to a value of about 100 on all instruments. This will give you a good dynamic range. If you feel that you need more range, set it to higher values. If you feel that you have compress your instruments a lot (soft sounds are too quiet, loud sounds too piercing), reduce the setting.
Then there is velocity crossfade. I usually assign cc1 to crossfade. As you observed correctly, velocity crossfade shifts between different timbres. For lower cc1 settings a pp-sample will be triggered, for high values a ff-sample. In orchestral settings or otherwise busy arrangements this gives very good results. In solo settings however the points where the samples blend into each other (=the crossfading) can be heard. Let's say you use a single flute sustain patch, crossfading applied. If you play a note and slowly increase the cc1 value from 0 to, say 60, you will at some point hear the pp sample crosfade into the mf sample. For a short time you can hear two samples being played, the pp and mf sample. You can hear where the crossfading takes place. If there are many other things going on in a piece you will not be able to hear it. But in a solo rendition you will. Therefor, depending on circumstances, you may want to not use crossfading in these cases.
Expression, cc11, is another way to add dynamics. Here there is no crossfading between samples, as you said. Instead, the given sample will increase or decrease in volume according to the cc11 values. Usually I work with cc1 only, as the dynamic range can be controlled with the DynR slider. In other words I use the DynR slider to control the dynamic range, and cc1 to control the dynamics of an instrument (with or without crossfading depending on the situation). CC11 would simply be another way to control the volume of a track, adding nothing that cannot be done with cc1.
Finally there is cc7, the master volume. This is yet another way to adjust the volume of an instrument. As with cc11 I leave this one alone. Some people use cc7 during the mastering process to adjust the balance between the instruments. Let's assume you have played in all the instruments of a piece and are content with each single voice. Now you start listening to the piece as a whole instead of the single parts. Now you realize that the flute is too loud at a certain point compared to the clarinet. You could now at that point decrease the cc7 value of the flute a bit to balance it against the clarinet. Again, usually I do this by adjusting cc1 and in most cases this will work just fine.
To start out I'd advise to use the DynR slider and cc1 to control your instruments. As you learn more you may reach a point where you need additional control over the volume of an instrument. That's where cc11 and cc7 can come in. But generally in most cases you will be fine with these two parameters only. CC11 and cc7 are just two more ways to control volume, which you wont have to apply often if you set your Dynamic Range right and use cc1 to control the volume/timbre.
About the reverb, that's a personal choice. I use templates where some reverb is already in place. I find it easier to play the instruments if they are not completely dry, but you may not. Just try out what works better for you. In any event, I'll add the final reverb in the stage of mixing/mastering, where all the instruments have been played in roughly balanced against each other. If you use a huge orchestral setting you may want to add more reverb/a bigger hall reverb than in a chamber orchestra setting.
Maybe you could have a look at Mirx. It comes with a feature called 'Natural Volume'. If you apply it, it will balance the volume and dynamic range of all instruments against each other according to real life measurements. This would give you a good starting point. And here is a link to an article detailing a very in-depth approach of how to balance your template:
http://www.samplelogic.com/sequencingsamples.pdf
I hope that helps some to get you started. Maybe some other folks will chime in with their experiences as well.
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Thanks for the explanation. I think you covered just about everything. Its good to know this is not as complicated as I thought at first.
I did not know Mirx could automatically adjust the volume against other instruments. Thats a pretty useful feature that could certainly save a lot of time.
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Yes, the natural volume feature in Mirx can definitely be very handy. You'll still have to tweak volumes individually for each piece, but it is a great starting point. By the way, if I'm not mistaken the db adjustements for each instrument with natural volume are published in the manual of either Mirx or Mir.
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Thanks for the explanation. I think you covered just about everything. Its good to know this is not as complicated as I thought at first.
Just like any instrument, it takes practice to master VSL. You could assign the velocity X fader to your Stair Master if that makes it easier but there's only so much that the techy egg heads can do to simplify things. In the end, as my grandma used to tell me sitting at the piano years ago, "Danny, the only way you'll be a better piano player is if you play the piano and play and play and play."
Of course, Danny is my brother's name and half the time nobody was sitting at the piano with her. Poor old bird had alzheiemer's, may she rest in peace, but you get the idea.
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Forgive my ignorance, I shouted halleluja with this answer, but there are some questions left.
For the sake of simplicity I'll assume that you are working with VI Pro, and that you use CC1 to control dynamics. CC7 is the master volume, cc11 expression.
CC1 for controlling dynamics? Which dynamics? Don't understand this.
Raymond
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As you probably know you can assign every controller to any of the parameters which can be controlled in VI. Dominique explained in the very same post from which your citation origins, that he has set CC1 to control velocity-Xfade instead of the default modulation.
Aha, clear now. Thank you.
Raymond
