Hi Paolo,

You could try in the "Edit" tab the Wave Start Offset option. You probably will have to adapt the Start Offset Attack also. It is possible to make one or more slots with the samples adjusted with Wave Start Offset.
Then you can make a choice.
In ViPro it is possible to adapt the Wave Start Offset with automation. Unfortunately that isn't (yet?...) the case in the Synchron Player. 

Sometimes you can get reasonable results with the attack automation. That automation can diminish the loud transition sounds. I hope this helps...

@MMKA said:

You could try in the "Edit" tab the Wave Start Offset option. You probably will have to adapt the Start Offset Attack also. It is possible to make one or more slots with the samples adjusted with Wave Start Offset. […] 

Sometimes you can get reasonable results with the attack automation. That automation can diminish the loud transition sounds. I hope this helps...

Thank you for your hints, MMKA. I had tried with attack automation, but that doesn't work, since it makes the notes even more disconnected.

Wave Start Offset and its smoothing companion parameter, Start Offset Attack, seems to be effective in cutting the attack, but with the same resulting effect of slowing the attack on a smaller scale.

In any case, I think I have a different type of problem somewhere. In a new score, isolated, the woodwinds are smooth enough. In the score I'm working on they are not. I can't see anything strange in the Synchron Player parameters, so there is probably something else happening, making the legato sound so disconnected.

Paolo

The issue is multiplied when multiplying the number of woodwinds playing together. Here are a couple examples.

I've also tried increasing the Release Voices limit of all the woodwinds from 4 to 20, but with no change.

Paolo

And a combination of Wave Start Offset, Start Offset Attack, in the Perform tab the Legato mode "poly", and then a little overlap from note to note, does that work for you?

By the way: the examples you posted are rather acceptable in my ears, but I found out, that people can judge very different about these things. So who knows, the last suggestion works for you...

I hope this will work for you!

Alas, no Release control data in my score. So, it's not that.

@Another User said:

By the way: the examples you posted are rather acceptable in my ears

I don't find them connected enough. You can hear the attack, that is something woodwind players try to minimize (and this is particularly effective with flute and clarinet).

By relistening to the old version made with the VI libraries (example attached), I'm sure I hear them to be much more smooth and connected. These are Trill Legato, that should now be included into the Fast Legato, but not available as separate articulations anymore.

Maybe there is a way to trigger Trill Legato deliberately? A threshold setting, somewhere?

Paolo

Definitely more legato! 

@PaoloT said:

Alas, no Release control data in my score. So, it's not that.

I thought you use Dorico, isn't it? In tab Play you can trigger cc23. I got this result (cc23 value about 90), 2 flutes and one clarinet

@MMKA said:

I thought you use Dorico, isn't it? In tab Play you can trigger cc23. I got this result (cc23 value about 90), 2 flutes and one clarinet

Thank you for the example. I used Legato Blur, that should do the same as increasing the Release Time. I'll see if it makes any difference in my case.

Paolo

@MMKA said:

Legato mode "poly", and then a little overlap

Setting the woodwinds' legato to 'poly', and increasing the overlap between the notes, worked fine.

In the VI version, legato was set to 'poly'. Actually, all my VI presets have legato set to 'poly'.

At this point, I wonder if I should save all my Synchron and Synchronized presets with legato set to 'poly'. Is there any advantage in leaving it to 'mono'?

(As I wrote in the other thread: Somewhere else, another manufacturer of orchestral libraries suggests that mono legato is better with their product, since the player may get confused by poly legato (is it a smooth legato, or the beginning of a chord?).

So, I guess I'll leave it mono legato, but will create two techniques in Dorico: 'Legato Poly' and 'Legato Mono', one sending CC35=0 and the other CC35=127. It will be easy to insert them as a hidden technique in the score, and easily replicate it to the various instruments.)

Paolo