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  • solo strings vibrato

    B
    B

    I have been working hard on a mockup of a revised version of my violin concerto. For most of the solo part I have successfully used the VSL solo violin library. The only places are where I had to use other libraries has been for lyrical sections required a variety of long, legato vibrato notes. At first I thought this would require artificial vibrato (LFO) but I've realised while working with some other libraries that only a fairly small addition to the VSL library would enable me to do the whole piece with no problem.

    As it is, the solo strings have legato patches for no vibrato, progressive vibrato, normal and "gypsy" (=portamento) vibrato. What is missing here is a light, poco vibrato patch and a really exaggerated molto vibrato patch. With just these two additions, using the cross fade function in VIPro, I could do a really convincing version of a good soloist. I found them in another library (no name!), and I wish I could have stayed within VSL, it would have greatly simplified my work.

    Just a suggestion ...

    Alan Belkin

    alanbelkinmusic.com
  • LAJL
    LAJL
    Sometimes I customize Vibratos with Melodyne's Vibrato-Algorithm after bouncing the track als a wave. It would be beautiful to have such a technology (reducing and adding Vibrato) in VIPro 3, because it would give us most control over Legato-performances.
  • J
    J
    last edited
    last edited

    @LAJ said:

    Sometimes I customize Vibratos with Melodyne's Vibrato-Algorithm after bouncing the track als a wave.

    It would be beautiful to have such a technology (reducing and adding Vibrato) in VIPro 3, because it would give us most control over Legato-performances.

    I remember some years back this was a source of some fiery debate on the forum.  There were those who demanded VSL incorporate an LFO type device to control vibrato.

    But in the end it was pretty much a clay pigeon and, in my opinion, for good reason.  LFO generated vibrato just doesn't work very well for a recorded sample.  To me, it sounds too artificial.

    However, VI Pro 2 has astounded me with how convincing the sample manipulation can be.  Who knows, maybe there is something in the works in this regard for the next VI Pro generation.
  • LAJL
    LAJL
    The LFO works well on some woodwinds like the baroque-oboe or the clarinet. It is a good helper. But it does not work on Strings or flutes. Maybe VSL could allow ARA inside VIPro3 and save development time.
  • G
    G

    I’d like to use Slot XF to increase and decrease Vibrato starting from a littel Vib -to exaggeration

    one. It would be fantastic. No Vibrato is static with less character. But Vibrato offer more individual details.
  • PaoloTP
    PaoloTP
    last edited
    last edited

    @belkina said:

    What is missing here is a light, poco vibrato patch and a really exaggerated molto vibrato patch.
    I don't know about the light vibrato, but isn't the exaggerated molto vibrato the "espressivo" articulation? Paolo
  • I
    I

    Try the following configurations if you have the current Vienna Instruments Pro.

    Expression: 65

    Dynamic Range Scaler: 63

    Tuning: 127

    Velocity X-Fade: 82

    Humanize: 51

    Release (big contributor to your problem): 20

    Algorthmic Dry/Wet Reverb: 62

    These configurations work great for both solo violin and solo viola. For added smoothness you may want to activate MIR and MIRacle using the Synchron Stage if you have it. I have some good equalizer/exciter settings if you want those as well. 

    -W