I would suggest you use the crossfade versions of sustain instruments, especially strings. It's impossible to capture all the dynamic layers without making insanely huge instruments. I think the VSL violins have 3-4 layers, and when you crossfade between them, using the modwheel, it is enough. For staccatos you obviously cant x-fade in the same way, but it is not as crucial either, so they work fine.
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In the first edition you'll find a maximum of 4 sustained velocity layers.
Simon is right, for strings the crossfades works pretty well.
The demo cube, don't have this crossfade mappings.
Another option are our 0sus variations.
Here we edited the start of each sample. Especially for the pp layers the musicians start playing very carefully, so it needs some time, that the sound is developed completely. This 0sus versions are thought for tighter and faster movements. If you change between pp and and the next velocity the level jump is also not so big.
For the Pro Edition we recorded a flautando, its a pppp with higher bowing speed nearer the bridge.
best wishes
Herb
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Haha, nice one, King,
Seriously, visiting this forum and the VSL site without appropriate funds is sheer masochism [:O]ops:
[[;)]]
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??
Am I missing something? In the EXS24 version, all of the "modwheel" instruments that I have tried just switch at 64 - no crossfade at all.
I actually tried increasing the crossfade parameters and it worked quite well.
Regarding the original post: I find there ARE some drastic level differences in the First Edition, especially with some string patches. I solved it by increasing the pp groups by about 4dB and lowering the ff groups by about 4-6 dB. This gives a smoother transition and a more "compressed" effect, ie not such large volume dynamics.
Which leads me to ask again: can we have a user files section where we can upload our own modified patches/instruments for others to try and swop?
Regards - Colin
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Originally posted by herb
For the Pro Edition we recorded a flautando, its a pppp with higher bowing speed nearer the bridge.
Herb
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Fascinating. I haven't heard of this effect before. As I understand it, faster bowing speed and playing nearer the bridge result in a louder sound. So does that mean the compensation to make it really soft is achieved by extremely low bow pressure and/or the angle of the bow?
Just curious - I'm not a string player. I can't wait to hear it.
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These are all great suggestions. I didn't know about the crossfade feature, but it sounds like a fine solution!
I love the idea of a user area - more knowledge can't hurt (except maybe the A-bomb).
KingIdiot, may I suggest this tag for your exclusive use: <flautando>gimme gimme gimme</flautando> [[;)]]
Peter Roos: Yeah, it's torture reading all this and not having the $$$ to afford half this stuff (yet).
Herb - been having problems logging in to forum recently. Anyone else having issues?
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ABOUT "PPPPā
During a rehearsal the conductor stops the orchestra and says " third horn, too loud, once more pleaseā. At the same passage he stops again and repeats the same thing " third horn too loud". After the third time of this, the second horn player stands up and says " But maestro, the third horn player is not here, he had to go to the dentist for an urgencyā The conductor stays cool and answers " OK, no problem, tell him when you se him.
Iwan