A personal VSL articulation map

[PaoloT]

Hi,

I would like to ask your opinion and suggestions before starting to make the actual VSL presets.

I'm trying to create an universal map of articulations in VSL’s strings and winds instruments. This will be used as a fixed-scheme for all the presets. This way, I will be able to select all the VSL articulations with a single Expression Map (Dorico) or Articulation Set (Logic).

My map is inspired to the Expression Map created by VSL for its Strings libraries. There are more cells in my map, to allow even the more exoteric articulations. The included recorded repetitions and dynamics are only the basic, with the full set reserved to different, dedicated programs.

In the map, attacks are organized in matrices inside a program (here, the columns), type of sound/sustain in different cells on the X-axis (the rows). Selection of the matrices happens via the lowest MIDI octave, selection of the X-axis cells with the second lowest MIDI octave (no problems with the range of the contrabass instruments: only the 5-strings contrabass would require a separate map for the low-B, while the orchestral contrabass tuba ends at low-C).

Some matrices will feature two or more rows, selected via playing speed. For example, alternating slow and fast legato, staccato and spiccato, or the different repetition speeds. Slots in a cell (for example, for alternating cresc and dim) are selected with a dedicated CC (20).

Portamento and Glissando are offered as variations of Legato, and are included in different slots of the same cell. The DAW can either select one of the extremes (Legato or Portamento/Glissando), or gently xfade between them. Different speeds are mapped to different rows.

Mute articulations are considered a separate instrument, even if some basic articulation is allowed, if needed. They are just a different sound type.

The last column of the map is mostly used for “favorite” articulations, adapted according to the required performing style. For example, when playing Western classical music, this may be a “sus vib” for a flute or violin, or a “sus n.v.” for a clarinet or trombone.

I've tried to be as balanced as possible. As far as you move to the right and to the bottom, the more you will find a bit of anarchy. But in general I've tried to preserve an internal symmetry.

Any hints, before I start with the big work on the presets?

Paolo

[TFIS]

@Another User said:

(no problems with the range of the contrabass instruments: only the 5-strings contrabass would require a separate map for the low-B, while the orchestral contrabass tuba ends at low-C).

No problem to do a note shift here (->inspector 12 or even 24 semitones), because the position of the keyswitches won't be affected.

[SonicSonar]

The 2 big Woodwinds would be the Clarinet Bb and Flute 1. Start there.  Do you want the top default matrix to be sustain or legato?  

Don't forget the Desc and Cres keys -> usually the A0, B0

My current set up ( I am always changing).

1.  Sus ( Vibrato, no vibrato, Vprogressive,Perf sustain legato, row2:pp,p,mp,mf,f,ff, )

2. Staccato ( usually only one here and Perf Rep has the other staccato)

3. legato  ( legato, marcato, legatoGrace.....(Speed)fast legato, fast marcato)

4.  fp   (sfz, sffz, fp, pfp, fpf)

5. dyn  (dyL1, dyM3, dyS2.......)

6. portato (small, Med, long, Vib, NoVib)

7. Trill flatter ( all thrill and Perf trill, flatter, cluster, flatterdyn.....)

8. Perf Rep  (rep legato, rep pos, rep stac, perf rep dyn 4,.......... This can get quite big.  See clarinet Bb)

9. Grace ( if they have them, there is going to be 12)

10. fast rep (r120,r130........r210)

11. cres dim (monster of a grid)  I would love to learn how to use it.

12 Gliss, Mordent or whatever is left.

Some woodwinds don't have Grace, most don't have mordents.  I did not do ALL articulations like Scale runs and Arpeggios.

Tell us how it all worked out.  Good luck

[SonicSonar]

One other thing.

I divided the space into 2 groups.  High ,and Low.  Sometimes I would take the Cello and move it to the Double Bass, or the Trombone to the Contra Trombone. And this is where I have issues with the matricies not matching up between low and mid-low instruments.  But I like your thinking, it has value. 

Also on Dimension Strings, I just take the matricies they provided us.  It matches well with the Mute articulations and it is easy to go from 6 to 3, to 1 players and OS, RE, .....  That would be a pain to sort it out like the other string libraries imo.   Tell us how it goes.

 

Thanks

[Kai]

Hi Paolo,

in case you haven’t seen this:

www.articulate-preset.com

This sounds like what you are looking for … and much more.

Cheers

Kai

[PaoloT]

Thank you very much, everybody, for the precious hints!

@Kai: Articulate Preset is a fantastic idea and realization, but has two problems: it still relies on CC1 for articulation selection, and is limited to the Cube. I want to use CC1 for X-Velocity, and want to include all the instruments I have (the Super Package).

@TFIS: Good news, being able to only transpose the notes and note the keyswitches!

@SonicSonar: Yes, Flute and Clarinet will be my starting point for woodwinds.

The AB Switch: I had totally forgotten it, thinking it was the same as the Slot selection. It is not, since these are alternative samples included in some patches. So, I wonder if I should continue to rely on keyswitches, maybe moving the AB Switch to an extremely high pitch, or change my strategy, and use something different, like PC+Ksw+Velocity.

Maybe I should not limit my map to a 12 (matrices) x 12 (columns) set, but let the matricx count go over 12 matrices, to also include in my universal preset all the dynamics, runs, arpeggios, trills, grace notes and upbeats. If so, using something different than Ksw+Ksw should be considered.

Back to the drawing table…

Paolo

[ddunn]

 

Kai,

This is the method I use.  It uses the matrices as patches (switched with program change)

I hope VSL will at some point, implement a scrolling articulation list in Synchron Player that functions much like the matrix list in VIPRO.  For those of us who use this method.

@Kai said:

Hi Paolo,

in case you haven’t seen this:

www.articulate-preset.com

This sounds like what you are looking for … and much more.

Cheers

Kai

[PaoloT]

Note to myself: I could use multirow matrices to collect recorded dynamics, trills, repetitions, and other types of articulation available in many variants. For this I would need a fourth selection message. Logic only allows for three messsges. Maybe I can use Keyswitch Velocities as the Y-Axis selector. So, I would have to use: - Keyswitch 1 to select a matrix - Keyswitch 2 to select a column (X-Axis) - Keyswitch 2 Velocity (or Speed) to select a row (Y-Axis) - CC20 to select a Slot inside the selected cell - Maybe Keyswitch 2 Velocity, again, as the AB Switch (unless I decide to use a higher-pitched Keyswitch or a CC to be inserted manually in the sequence). Paolo

[Kai]

Paolo,

Articulate Presets follow the standard VSL-convention, where velocity Xfade is controlled by CC2. If you want to control it with your modwheel, simply have your modwheel send CC2 (I did it for the modwheel on my second keyboard, and this can easily be done somewhere in the settings).

Articulation selection is in Articulate Presets actually done via program change messages. CC1 generally acts as one of three continuous controllers that let you e.g. simultaneously shape the attack behavior, vibrato intensity, section size, … . 

Yes, Articulate Presets don’t cover the entire super package, yet (the list is growing, though). Anyway, if you want to create fancy presets for the entire super package from scratch you should allow a lot of extra time :-).

 

ddunn,

The advantage of Articulate Presets is not merely that they use program change messages: the different matrices do not consist of single patches, but offer far more realtime control by continuously blending many individual patches.

[PaoloT]

Kai,

@Another User said:

if you want to create fancy presets for the entire super package from scratch you should allow a lot of extra time

My hope is that the search and replace trick explained elsewhere by Herb would make creating the various presets as quick as possible. Not tried, yet.

Paolo

[PaoloT]

@PaoloT said:

- Keyswitch 1 to select a matrix (starting from the lowest MIDI note)
- Keyswitch 1 Velocity to select a column (X-Axis)
- CC20 to select a slot inside the selected cell
- Keyswitch 2 (MIDI Notes G#0/A0) as the AB Switch

Dang! I forgot a message to select the Y-axis, in case I don't want it to be done only via playing speed, but also as a deliberate command. It could be something like CC00 (Bank Select MSB), CC03 (Undefined after Bank Select), 04 (Foot Controller) or 32 (Bank Select LSB).

In any case, here we are again with more than three messages for bundle. At this point, maybe a bundle could be:

- Keyswitch 1 to select a matrix (starting from the lowest MIDI note)
- Keyswitch 1 Velocity to select a column (X-Axis)
- CC03 (or Speed) to select a row/variation (Y-Axis)
- CC20 to select a slot inside the selected cell

A Keyswitch 2 (MIDI Notes G#0/A0) could be inserted manually as the AB Switch. Of the messages needed, maybe this one is the least likely to occur, so not having it in the message bundle could still work.

For most cases, a single Keyswitch and its Velocity value should be enough to select an articulation. In this view, maybe I should plan to split Legato and Portamento (being even this latter a quite common articulation), as VSL did with their Strings Expression Map.

Paolo

[PaoloT]

@PaoloT said:

- Keyswitch 1 to select a matrix (starting from the lowest MIDI note)
- Keyswitch 1 Velocity to select a column (X-Axis)
- CC03 (or Speed) to select a row/variation (Y-Axis)
- CC20 to select a slot inside the selected cell

Sigh, it can't be done. A Keyswitch Velocity selector needs a Keyswitch on the other axis. So, either I use another Keyswitch for matrices, or a PC message for it. No CC is allowed for matrices. An hypotesis:

- PC to select a matrix
- Keyswitch 1 to select a column (X-Axis)
- Keyswitch 1 Velocity (or Speed) to select a row/variation (Y-Axis)
- CC20 to select a slot inside the selected cell

A Keyswitch 2 (MIDI Notes G#0/A0), inserted manually, as the AB Switch.

Paolo

[PaoloT]

@TFIS said:

the position of the keyswitches won't be affected.

This is another reason why one can't easily adapt the existing VIPRO presets to Logic. The keyswitches to select matrices for Cellos start from C6. Cleverly, keyswitches for Basses where placed starting from C5, so if you play the Basses one octave higher, as in a written score, you get the (written) keyswitches on the same C6 as the Cellos.

But this doesn't work with Logic, due to keyswitches not being transposed, so you would need separate Articulation Maps for Cellis and Basses.

Paolo

[PaoloT]

Following your suggestions and further considerations, I remade my universal VSL articulation table. The bundle of messages to select an articulation will be

1) Program Change (matrix)
2a) Keyswitch Notes 0-11 (X-axis)
2b) Keyswitch Velocity (Y-axis); this will be alternated with playing speed

A manually inserted keyswitch will be the AB Switch, and a manually inserted CC20 will control xfade between slots a/b inside a cell.

Program Changes will be used to select matrices inside a program. The use of PCs, not overlapping playable notes, will not limit me to 12 matrices. I will therefore be able to leave each matrix be specialized on a particular type of sound production (staccato, sustain, tremolo, pre-recorded repetitions with dynamics…).

A first Keyswitch will only use the lowest MIDI octave, a range out of any instrument's range. This will select a column in the X-axis. Columns are made up of a first group of four controlling vibrato (vib, n.v., molto, progr); a second group with alternatively increasing/decreasing strenght (deep/pont, light/tasto, deeper/harsh, lighter/harmonics, even deeper/blast, even lighter/feathered), a column for accessory articulations (sfx), a last column for a preferred articulation in the row (for example, sus vib for flutes, n.v. for clarinets).

The Keyswitch Velocity will select the Y-axis, containing variations to the base one (like different trill intervals, dynamic durations). As an alternative, other matrices will use playing speed (for example, for automatically alternating between staccato and spiccato, or long/med/short portatos).

While I would have a third message available in Logic's bundle, I would prefer to leave selection of the AB Switch (crec/dim, up/down) to a manual control. However, since notation programs can send messages for dynamics, the AB Switch could be the third message in the bundle.

Selection of the a/b slot inside a cell will be manually controlled with a CC20 message, xfading between the slots (for vib/n.v., tasto-->normal, etc.).

This schema should cover all the wind and strings instruments.

Paolo