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Hi Jeremy,
the best way to go is to save a default empty VI instance that contains all these settings in the "Perform window". Then, always start with this template. This way you´d always have the same controllers assigned.
Best,
Paul
Hi,
that´s also an option. I´d probably save the Vienna Instruments "Preset" (=*.fxp file), but that´s simply because I´m so used to this from the "old" Vienna Instruments way to do things.
A channel presets saves all settings (plug-ins, panning and so on) of a channel, whereas a Preset "only" saves the Vienna Instrument itself.
Best,
Paul
thanks guys. Still would prefer just some extra sliders. I guess a expression pedal would work but I'd rather use my hands.
Another issue I am having a problem with is the inconsistent handling between Solo Strings and Appasionata, with the AB switch for port and using the mod wheel for it with Solo Strings. Is there a way to set SS up to act the same or would VSL need to release new patches?
I think I own the best midi controller ever made -- the Peavey C8. It has 2 wheels and 4 sliders, put plenty of pedal inputs for CV or switches. I use the power... in my opinion, using a wheel for articulation choice is not always musical. I tend to use keyswitches for articulations, and the wheel for vel x-fade. So having 2 wheels is very flexible. I am still on the fence re: the breath controller -- I saw Paul demo it and he really was able to do some very expressive performances with it. But I have been able to use wheel2 to my satisfaction, so not sure if I would get any benefit from the breath controller for non wind instruments.
Why would you use the wheel for legato/port for solo strings? Assign that to a keyswitch. Way more musical, if you ask me. I do not use the pre-built matricies, I am rolling my own, as required for my work. So simply build up what you need, and use the controllers that are most intuitive for you. If you like A/B for the App strings, then why not use C1/C#1 for Solo legato/port
I have only been using the library for about a month - but quickly learned a good workflow for myself -- use the preset matricies as a learning tool, then modify them for yourself. So instead of using controller 1 for , make it a keyswitch.
Another thing I learned: keep your matricies as simply as possible. If you only need a 1 cell patch, then give it its own keyswitch and move on. Trying make the ultimate matrix was a time zombie for me. Once I accepted that there was more than a few ways to build up the patches, it really helped my workflow. You have plenty of options. Don't feel you have to use the factory matricies!
Like Jeremy, I also have made all my own matrices. I have made sure that the keyswitches are as sear as possible identical for every instrument, so that I don't have to remember a bunch of them.
In fact I actually don't have to remember them anyway, because I have them set up on my Lemur, so I only have to touch where is says "Port" and I get a keyswitch to a port patch.
DG
Hmm DG that got me thinking of doing something similar to your Lemur setup. That sounds like it saves a lot of time, to just be able to go back through the piece after the recording is done and click the playhead where you want and hit "portamento" or "legato" and get the right patch. Am I reading that right, that's how you do that?
That could save some serious time from mouse click or remember which dam kewswitch is which. Can it do a more complex one which changes matrices and patch cell at the same time (basically putting down two notes in one button).
Maestro2be
That could save some serious time from mouse click or remember which dam kewswitch is which. Can it do a more complex one which changes matrices and patch cell at the same time (basically putting down two notes in one button).
Maestro2be
Yes, and my set-up is even more clever than that. PM me if you want or need to know the boring details.[|-)]
DG
