The monophonic legato articulations seem to be hit or miss after I load them, mostly miss. Wow, sounds great when they work but mostly it's note to note with no intervening samples.
Certainly this has to be operator error, plenty of RAM on a 2.4mhz PC, Ableton Live hosting the VST, Kurzweil controller.
Any advice on what I am missing, thanks!
Fred
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VE Legato patches not working
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Hi Fred - tell us what patch you're having the problem with and I (or some other VI user) will tell you if they're getting the same result. One tip - you have to take care that you play the legato patches with overlapping notes (the opposite to what your piano teacher taught you!) or else the legato transitions will not sound.
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Thanks for this Conquer. Just to be clear, I have included links to 3 audio files. The solo vln port patch file has that obvious sweep from note to note if you hold one to the other as you have mentioned, but the same seq played with the leg solo vln interval patch seems to sound just note to note. The leg vln ens file seems to have some of that action though...maybe I am expecting too much from the solo legato strings? Thanks again for your consideration and anyone else who might be interested. Fred www.fredmeggs.com/vln_leg.wav www.fredmeggs.com/vln_port.wav www.fredmeggs.com/vln_ens_leg.wav
@Conquer said:
Hi Fred - tell us what patch you're having the problem with and I (or some other VI user) will tell you if they're getting the same result. One tip - you have to take care that you play the legato patches with overlapping notes (the opposite to what your piano teacher taught you!) or else the legato transitions will not sound.
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OK, I have listened to your examples. It seems that the one you have problems with is the solo violin.
Firstly there are lots of holes where you are not playing legato, so you are getting a start note for each note that follows a gap. Even without being able to hear the gaps, this is not a particularly good idea for a violin solo, as it sounds as if the player is constantly stopping and starting.
I don't hear a particular problem with the legato transitions. I'm not sure what you are expecting to hear. In the past users have "complained" that they don't hear any sliding around from note to note. This is not going to happen on a violin unless there is either portamento or a position change. After all, we are talking about one player who is only playing one note at a time. What you should be listening for is the tonal connection between notes. I would investigate what it sounds like when you use sustains instead of legato, so that you can hear the difference.
DG
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Hi Fred, thanks for posting the examples. I compared the solo violin legato with the portamento and I think the legato patch is working fine - you're getting smooth legato transitions in the same places that the portamentos occur, but as DG says, the sequence also contains several detaché notes. The VI can't achieve legato transitions on those, it can only do that when notes are overlapped.
If possible, take a look at the notes on screen - hopefully your sequencer can display them in a graphic format that makes it clear where the overlaps occur. If you lengthen each note so it overlaps with the next one, you'll hear 100% legato samples!
For what it's worth, IMHO VSL's legatos are the best we can get - a few orchestral libraries have tried other approaches to achieving a true legato effect but none have matched VSL's technique of sampling every interval, up and down, up to an an octave, for every note in the instrument's range. Having said that, I guess we should also bear in mind there is a limit to what can be done with samples.
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DG, Thanks for your consideration and time. As you have noted, I did play some notes in the examples that were not connected to investigate the difference. I think I may have been looking for a more obvious effect that does not and actually should not exist. Ok, I'm ready to go, and thanks again, I will try the sustain technique. Best, Fred
@DG said:
OK, I have listened to your examples. It seems that the one you have problems with is the solo violin.
Firstly there are lots of holes where you are not playing legato, so you are getting a start note for each note that follows a gap. Even without being able to hear the gaps, this is not a particularly good idea for a violin solo, as it sounds as if the player is constantly stopping and starting.
I don't hear a particular problem with the legato transitions. I'm not sure what you are expecting to hear. In the past users have "complained" that they don't hear any sliding around from note to note. This is not going to happen on a violin unless there is either portamento or a position change. After all, we are talking about one player who is only playing one note at a time. What you should be listening for is the tonal connection between notes. I would investigate what it sounds like when you use sustains instead of legato, so that you can hear the difference.
DG
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Conquer, Thank you and DG again for your consideration...again, some of the notes I was playing were deliberately disconnected for experimentation. Now that I know things are working properly, I can start from there, awesome. Hey, what a great board this is that I would get excellent feedback so quickly. I hope at some point I will be able to help others. Thanks!Fred
@Conquer said:
Hi Fred, thanks for posting the examples. I compared the solo violin legato with the portamento and I think the legato patch is working fine - you're getting smooth legato transitions in the same places that the portamentos occur, but as DG says, the sequence also contains several detaché notes. The VI can't achieve legato transitions on those, it can only do that when notes are overlapped.
If possible, take a look at the notes on screen - hopefully your sequencer can display them in a graphic format that makes it clear where the overlaps occur. If you lengthen each note so it overlaps with the next one, you'll hear 100% legato samples!
For what it's worth, IMHO VSL's legatos are the best we can get - a few orchestral libraries have tried other approaches to achieving a true legato effect but none have matched VSL's technique of sampling every interval, up and down, up to an an octave, for every note in the instrument's range. Having said that, I guess we should also bear in mind there is a limit to what can be done with samples.