I am personally much more disappointed at the lack of performance repetition patches. The only Perf rep patches in the Basses are portamento. They dont even have staccato, yet alone spiccato or any "harsh" articulations. I personally would use these patches much more than legato, and am surprised they are not included, as one would think using the basses to "keep a pulse" would be standard writing, and make the need for multiple RR patches, at least more than the 2 alternations found in the normal patches, more apparent. 

Of course none of these issues are deal breakers. We all will find ways around the limitations of the tools we use, so thats not the argument. The point is that these are limitations could, and perhaps should not have existed in the first place. 

>I think that the crux of the matter is that the Appassionata Strings is a smaller Collection than some of the others. Therefore some things have to be left out. It is a matter of opinion as to whether or not VSL made the right decisions.

I was even wondering if the Appassionata where not made outside of VSL, as they are very strange "key ranges" and "key ranges" are depending of the articulation

Best

Cyril

For the most part it's not a problem - but other instruments have some kind of range limit on some articulations. Epic Horns Legato for instance has a smaller range than its Staccs.  

@Cyril said:

[...] I was even wondering if the Appassionata where not made outside of VSL, as they are very strange "key ranges" and "key ranges" are depending of the articulation [...]

Hi Dietz and Christian,

I am not speaking of conspiration theories [:O]

As the Appassionata does not look to meet the high level of other VSL product I was wondering if you did not subcontracted it !

I have wrote a detailed mail about the curiosity of the key ranges of this product, it will be lovely if, for the beauty of the thing, you could arrange this.

It is not the legato but also other articulation that does not have the same keyranges

I have also send a mail before about the lack of articulation in the Bass and about articulations been available for the Appas. Violin and not for Appas. Viola and Appas. Cello

The Appassionata is a very good library, I love it ;  I just think it's a pity that you encouter those little problems, and as you see I am not the only one making this remark.

May be you could spend a little time on it so it is as perfect as other VSL products

Best

Cyril

-----------------------------

Part of the mail I send :

I did a quick comparaison, not all matrix and articulations have been tested.

Appassionata Viola :

VA-14 Staccato, Sfz are ending on A

VA-14 Detache, pizz and tremolo are ending on D

VA-14 Sus-vib is ending on G

Appassionata Violin :

VI 20-Staccato, Detache, pizz end on D#

VI 20- Sus vib, sfz ends on A

VI-20- Tremolo ends on G

VI-20- perfs legato ends on D

Appassionata Cello

VC 12-Staccato, Detache, pizz, Sus vib, sfz, Tremolo ends on A#

The Perf-legato are ending on E

Appassionata Bass

DB 10-Staccato, Detache, pizz, Sus vib, sfz, Tremolo are ending  on C

 Noooooooooooooooooooooooo..........................

It's like Groundhog Day.  [:S]

DG

Appassionata basses are supplemental, not a complete replacement to all the other string ensembles and articulations.  So not every single possible articulation was done.  Most of the time legato is not as necessary on bass parts in a large orchestra (which is where you would use this size ensemble) as it is with violins, violas or cellos.  It will probably be added at some time, or maybe not.  Because you can use the other basses for legato soli. 

 I'm going to buy Appassionata and Appassionata Extended...  No legato basses?  [:O]

It's hard to understand,  really...

 I have SE +,  so,  i have the legato basses (with only 2 velocity layers,  but it's better than nothing)...   But orchestral have not

the Appassionata sound.  The sound will not be gorgeous as the appassionata collection,  i will have to tweak it a lot.  [8o|]

This thing is a real problem for my template and composition.  I can't match the Appassionata vioins,  violas and cellos with the basses  [:(]

Even with the 6 Double basses ensemble + the one of the chamber it sounds unbalanced.  [:S]

It would be very cool if VSL team could finish the appassionata library.  [:D]

@Vincent M said:

This thing is a real problem for my template and composition.  I can't match the Appassionata vioins,  violas and cellos with the basses  

I totally disagree with this.  You can easily match the Appassionata strings in general balance by using a combo of Orchestral and Chamber.  The reason is very simple - in a live orchestra, there are varying numbers of basses.  And you have 8 basses with that combo, and full legato.  Also, the Chamber basses have a really nice additional complexity in their legato, when layered with the Orchestral. 

However, I have to add - I don't really disagree with you Vincent M in general, because of course it would be nice to have some kind of huge, Appassionata Bass legato.  It is always good to have more samples.  So you are not wrong, it is just that there are alternatives.  Another thing I've done is layer in some SOLO BASS. Wow !  That creates some real complexity. 

 VSL is such a revolutionnary company that sometimes I don't stop to ask things and complain.  Sorry for this.  [:D]

Casiquire, as a trained classical bassist, I do not agree with your comments in total.  In one sense I do think they are correct in that in terms of "Hollywood" the techniques are not used as much.  However, overall, in the orchestral literature, legato, in particular, is critical.  In terms of a large orchestra, the articulations of the bass section in AP strings are lacking.  OTOH, one of the reasons I really appreciate VSL is that for orchestra/chamber/solo the bass is complete.

Note that when shifting positions on the bass, like the other stringed instruments, the string is kept pressed against the fingerboard.  So yes, it takes more physical strength to play the bass, and the bass certainly is less agile.

In general, some composers tended to write extensive bass parts, while others tended to mostly ignore it.

That's not exactly true. It depends on the line of music.  For example, if you have a bass and cello line doubled in octaves, on a suspenseful film score, and they slide downward in a dark, threatening way - there you would love to have legato basses.  Because on that one slide, all the basses together would emphasize the effect of the line. 

Though on the other hand, if the basses are simply playing a typical bass line underneath an entire orchestra, the legato is simply not heard.  So the point would be that most of the time it is not needed in orchestral practice, but it certainly can be useful.  But as I said earlier there are many options if you use the other ensembles.