Expressive Synchron Legato-test 2 for Pixelpoet (Puccini)

[fahl5]

I admit this statement and demand to be "persuaded" was somehow that challenging for me that always when something seem to be more or less legato in any of my Synchron-Strinmg-Projects I am in temptation to ask Pixelpoet if that comes nearer to what he was looking for.

@Pixelpoet1985 said:

I really would like to know if one can realise some "Hollywood" sounding music, with expressive legato lines which sound realistic....

Because I can't and I don't think that anyone else can. Harsh words, I know. I just want to be persuaded.

Since what I've currently heard from other Synchron Exsamples your Question seem to be not that much answered by any other member yet, And no, this is not "the" Hollywood at all (what ever that shall be) and therefore does not pretend any nonsens like that.

Its "just" from Puccini (and honestly even if he is "just an old european" imho still not that bad composer I personally at least would still prefer him over most I've heard as traditional Filmcues).

So Pixelpoet give those 27 seconds perhaps another chance (and try to be a bit gentle with my poor ability to realise that music just to estimate how far an "expressive Legato" might be possible in Synchron Strings 1).

Puccini-Excerpt Synchronstrings Legato-test2

No Layering with non Synchron-Strings, Beside Synchron Percussion The Winds and Harp are oif course previous VSL-Libraries.

(The complete recording will be presented in a few days. who ever might be interested in)

[agitato]

The legato in your clip sounds fine, but to me legato is of the least concern.

The strings seem to lack the natural tonal richness and sound synthy at times.....around 00:15 the string sound is comparable to (or maybe slightly better than) my $200 Yamaha keyboard. 

Your clip is not that bad but I would never choose this over an actual recording, 100s of which are available for free on YT.

Sorry thats the way I feel. 

Anand

[fahl5]

@agitato said:

The legato in your clip sounds fine, but to me legato is of the least concern.

But the Legato was exactly the concern not only of Pixelpoet but many who discussed in the last time, who I try to answer here with kind of a concrete musical argument (I do not like general more or less theoretical statements they are so easy posted but finally mean for the real use of a library nearly or absolutly nothing). I just have had the impression that currently no one else ever gave an explicit exsample for an expressive Legato. So I read your reactions actually a bit more positive than you summarize them yourself. Legato fine? Thats what this exsample is about . But dont take me wrong I have no intention to convince anyone of Synchron Strings.

This is just a VSL-Product I use and I currently simply explore. Thats why I just share my results. And this cxertain exsample because I have had the questioon of Pixelpoet in mind. thats all. So thanks for listening and reactiong that friendly on just the legato I present here.

[belkina]

HI Steffen,

The legato here sounds very nice. :-)  Did you do anything special with the controls to achieve it?

[fahl5]

@belkina said:

HI Steffen,

The legato here sounds very nice. 😊  Did you do anything special with the controls to achieve it?

Let me thank you first for your friendly reaction.

Honestly it does seem to be not that much. But perhaps I am already to much used to do so:

• All longer notes have a Velocity-Xfade Curve
• I always try to search for at least some intervalls which seem to be most reasonable to apply slured Legato.
• the rest is for the most part normal legato sometimes fast or marcarto
• while in episodes like that I avoid the Soft legato.
• The in my impression most important aspect seem to be just to try to achieve a reasonable dynamic development of the whole.

While the last aspect is in a strict sense nothing what touches any terchnical question of realising a good legato but I believe this helps the listener to understand and follow the musical context which will make it much easier for him to feel the notes of a certain phrase as connected.

And Yes I still believe given one has chosen the most suitable type for each situation the Synchron Legato does a good job to support this impression. 

I hope I was able to answer what you asked for.

[belkina]

@belkina said:

HI Steffen,

The legato here sounds very nice. 😊  Did you do anything special with the controls to achieve it?

Let me thank you first for your friendly reaction.

Honestly it does seem to be not that much. But perhaps I am already to much used to do so:

• All longer notes have a Velocity-Xfade Curve
• I always try to search for at least some intervalls which seem to be most reasonable to apply slured Legato.
• the rest is for the most part normal legato sometimes fast or marcarto
• while in episodes like that I avoid the Soft legato.
• The in my impression most important aspect seem to be just to try to achieve a reasonable dynamic development of the whole.

While the last aspect is in a strict sense nothing what touches any terchnical question of realising a good legato but I believe this helps the listener to understand and follow the musical context which will make it much easier for him to feel the notes of a certain phrase as connected.

And Yes I still believe given one has chosen the most suitable type for each situation the Synchron Legato does a good job to support this impression. 

I hope I was able to answer what you asked for.

Yes, it does. One important thing that emerges from this discussion is that articulation alone is never enough. It is always related to the envelope of the note, the vibrato, etc. A non-musician listener will just say that the result sounds "expressive". But (as you know) that word includes many aspects of each note: attack, the sustain envelope, vibrato evolution over time, how it is connected to the notes before and after, etc.

As I said in another post, virtual orchestration at its best is a kind of ear training: the goal is a really musical performance, but we have to know how to set up each parameter. In the same way, a violin teacher cannot just say to her student "Play better", but rather has to provide very specific help, like "lean into the attack here, less vibrato there, a bit of portamento here, etc." Real help comes from being as specific as possible!