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  4. Dimension Strings Force String Sample-Pool

  • Dimension Strings Force String Sample-Pool

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    S
    I have a question about the "Force G to E" string samples in Dimension Strings: Does every patch have a complete own set of samples from low G up to high C or do they use the same sample pool when leaving the forced string in the higher register? I ask because I´m thinking about building greater sections and different VL-1 and VL-2 sections by using i.e. "Regular" patches for the first 6 VLs and "Forced G" for a second 6 part divisi set of 12 first VLs... and go on with 2 x 5 "Forced D and A" for the second VLs etc. (I would probably mix them more randomly to keep the effect unobtrusive...but you hopefully know what I mean). So will I get in phasing trouble in the higher registers?
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    S
    I just tried it out, so I can answer it myself :-) For the case someone is interested: I loaded Player one "Regular" and "Forced G" and set pan to left/right. I get a nice stereo sound of two different recordings in the lower register. But from Eb4 upward the sound collapses into one mono event... so same samples in both patches here. Anyway, there are a lot of similar articulations which could be combined into one playable section to get VLs-1 and VLs-2. Any tips how to build convincing presets for VL-1 and VL-2?
  • C
    C

    In the Force G / D / A / E patches the string in question plays all pitches from open string up to an octave and a fifth. The remainder of the violin's range is covered by the other strings - so in the case of the Force G patches, the G string (open pitch = G3) plays up as far as D5, the A string plays D#5-G5 and the E string plays G#5-A7. Because the G string plays so high, the D string isn't used at all in this particular mapping.

    The extreme low and high registers (G3-C#4 and F6-A7) can only be played on the G and E strings respectively, so to create an alternative sound in those ranges you'll need to change something like articulation type, section size, volume, panning or reverb perspective to avoid obvious sample phasing. With so many alternative articulations available, that shouldn't be a problem.