Absolutely!
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Not a new articulation, but it would be nice if we had a search box in the patch (or matrix) listing whereby one could instantly list anything matching the string. Then we wouldn't have to click in and out of folders all the time to find (especially) those lesser-used patches.
On the subject of new features (as opposed to new articulations), some new helper software should be built into VI that would enable one to play cresc./decresc. over single tones and over multiple tones, figuring out on the fly whether and how to cross-fade, use dynamic samples, or whatever might be appropriate ... and let that new software be configurable. The end result should be that under-the-hood programming takes care of making basic phrasing happen.
In other words, build some musical knowledge representation into the software (which right now only "knows" about legato and repetition). Add crescendo, diminuendo, and ultimately even shoot for "knowing" about where in the bar or phrase one is and letting sample selection be driven by that knowledge. Could save thousands of hours of drudgery. (q.v., SuperConductor by Manfred Clynes, for example).
- Paul
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@Paul Henry Smith said:
it would be nice if we had a search box in the patch (or matrix) listing whereby one could instantly list anything matching the string
oooooh, yes, yes, yes, yes! Sweet idea, Paul! I loathe clicking through all those tiny little folder icons...
J.
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I am not replying to the previous entry here, I am just taking off where I left last time, where I believe I was the only one suggesting amidst discussions of Alpine horns and african harps and what-have-you (which I would also love to have - the more the merrier...) the creation of a DVD dedicated solely to choirs with words (shared with a couple of other composers here), but more importantly, solo vocalists with words, and as many dynamic ranges and articulations as possible. Well, a different company which won't be mentioned here for propriety purposes (but who everyone knows which is meant) has already started the proverbial ball rolling on just that! William, you can judge the results for yourself (as everyone else can), and even if you think they are dubious, there are four points to be made:
a) It is only the relative beginning of that development;
b) if we compare the rest of that company's products to date to those of the VSL we can only assume that the latter company's excursion into the human solo voice would a priori be expected to come out superior;
c) that a company's products are only as good as the end user's technical abilities (something easily proven by listening to different composers' demos here), therefore seemingly "dull" samples can be magically transformed by engineer expertise, and that
d) knowing that we are not getting Callas exactly, how great for those of us who are still interested in genres such as lied, opera, cantata, oratorio, mass, musical-theatre, would it be to be able to create mock-ups for potential performances, or as good approximations to the real thing as those of say Temple, Bacos, and Bacal, to name three of the many talented individuals here who pave the way...
How about it Herb?
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