Colin-- My collection of articulations is a custom collection which can be saved as a matrix file (not sure this is the right term). As soon as the VI is released hopefully Herb will post a link to this matrix file (which I sent to him as well). By the way, creating a custom collection of articulations really only takes a few seconds. It is VERY simple to do-- just drag and drop.


Dave-- I tried to use as many "real" diminuendos as possible, but sometimes the beginning of the articulation was more important to me (a zigane slide or progressive vibrato) and so I used cc11 (volume) to create a diminuendo. This is only an issue with solo instruments. With ensemble instruments, I would have been able to take the beginning of one articulation and crossfade to a diminuendo without anyone noticing.

Best,
Jay

[deleted]

... gentlemen ... please!

@PaulR said:

[deleted]

Wow. Classy guy....

[deleted]

[deleted]

wow -
I posted at in the beginning of this thread yesterday.
Today I saw the link and that it was now 4 pages long .... I got hopefull that there would be a ton of info and midi files and stuff .....
Boy did this thread take a left turn...

Jay and herb - as a previous poster mentioned, posting an mp3 of a 4 minute SOLO violin lib is a very bold thing to do.
It is indeed excellent.

And thanks for posting the midi file.

The thing that seems hard for some of us to fully understand is just how improved the work flow is.

In the future their may be some simple information that you could include with each demo that would help us out.

1) always post the midi file.
2) timeline - how long did it take to play in and how much extra time to mix.
3) maybe a video of someone actually playing in a couple of the parts.
4) a one page letter from the demo creator taking us through the process - ala a brief project diary.

Also, maybe announcing a free downloadable complete database of all the custom VI matrix files that the demo composers used.
So day one we could download the demo's, download the midi file and download their custom patches.

Maybe even an additional user area for us to exchange custom matrix patches as it seems that these patches are the entire point of the VI.
This would help newbies out tremendously.

[deleted]

Those demos sound very good! Beat, Jay and Craig Sharmat always do excellent work.

My only question is on the bowings of the J Bacall - some of them sound impossible to take on one string. I obsess too much about this sort of thing though. Am I right on that DG? Or any other violinists out there? There seems to be a large amount of one-string portamenti, one after another, without a change of bow. It sounds good, but I worry about being "legato happy."
[:D] [:D] [:D] [:D] [:D] [:D] [:D] [:D] [:D] [:D] [:D] [:D]

[deleted]

William-- I am without a doubt "legato happy"-- and more specifically "zigane" happy. I did listen very carefully to recorded performances and tried to emulate what I heard. It's likely that I went a bit overboard, but the vast majority of slides I used were in one form or another in the "real" recordings. But it's probable the real violinists technique was more sublte and varied than mine.

Joaz from Northern sounds posted a series of comments from his wife an accomplished violinist. I repost them here because I think they will be of interest to all.

@Joaz said:

Hi Jay
I ran it past my wife Azhaar, and these were her comments...
Good stuff
Progressive vibrato very good.
Great harmonics,She loved the bow noise.
Down Shifts,very lifelike.

A Tad Critical
Needs more variation of vibrato speed and intensity.

The upshifts all sound like one-finger shifts, whereas for big shifts, Violinist usually cross strings and change fingers.(I have no idea if that is possible with samples though)

A Little more bite on the downbows even in the mp-mf range.

She felt that the cresendo's were a little too fast as you do have to physically move the bow a long way to get a good crescendo.

Overall
She was impressed with the musicality of the whole performance. And liked the overall sound.

Unsurprisingly When it comes to Violin, she tends to be a harsher critic of sample performances, than live ones, and having been on the end of one of her critiques of some of my stuff, I can assure you, you got off lightly.

I would enjoy hearing the reactions of other violinists on this forum.

Best,
Jay

@JBacal said:

I would enjoy hearing the reactions of other violinists on this forum.
Best,
Jay

Trust me - you don't want to hear what the violinist sitting in this studio said, an hour ago.

I would be interested to hear any "thoughtful" opinion. The "lively" discussions sparked by some of my demos posted on various forums this week have toughened my hide considerably.

--Jay

gentlemen, since dietz' and my request taking back yourself haven't been succesfull you forced us to delete content with personal injuries (and posts citing them).

this went far beyond the limits we are willing to accept.

any further off-topic post except apologies (what would be appropriate IMO) in this thread will be deleted, any continuation in another thread will be stopped, any further violation of the netiquette will be followed by closing the respective thread or suspending the respective member from posting.

thank you for your attention, christian

[deleted]

Interesting would be an opinion, where the musician/violinist does not know that this was done with samples.
We've got interesting statements and harsh critics in the past (synthetic sounding, no one would play this like that, and so on) about real performed and recorded pieces, where we've said that it was done with samples.

best
Herb

@PaulR said:

[deleted]

OK fine - I don't post here anymore. Adios.

...

I would also love to hear the results of a "blind" test concerning samples vs. live as Herb mentioned. I remember one guy came on this forum briefly, and absolutely SAVAGED the performance by Andy B of Debussy, which is still probably the high water mark of artistic sample performance yet accomplished, though Jay and Beat have given some stiff competition for that honor recently. So it was obvious this guy - I forgot his name - was prejudiced, pure and simple, against the samples.

That is a great response you got Jay, from an experienced violinist - the harshest critic one would expect of a sampled violin solo. Amazing that you could accomplish that actually. So I guess the bowings are not a problem? The reason I brought this up in the first place is that I often wonder it about my own things - if I am violating what could, or would actually be done. Now of course it has been discussed how samples need not simply imitate what is possible, but somehow I cannot stand making a "bowing mistake" in my own performances.

Anyway, it's a great sounding demo!

so like if the idea is that Jay's performance could have theoretically been performed live (minus a few tweaks here and there) this is truly amazing. It's not perfect but it sounds like a real living violin. I didn't wince once. The violinist wife of one of the posters had great comments with which I agree but that hardly undoes this breathing animal you've brought to life.

I think the reason I used to hate solo violin samples (VSL included) is that it takes so much time to pick the right articulations and string it all together, hardly anyone actually does it. So we end up hearing frankenstein performances all the time. This tool seems to optimize the value of all the different articulations and transitions and USE them where appropriate so we actually get to hear phrases.

I still like Synful tho! [6] But having all this realtime without artifacts is quite a leap forward.

signed,
a really crappy violinist