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  • Switch Legato/Poly Modes?

    On Synchron, it it possible to switch from Legato mode to Poly mode, or can you only use one or the other per instance?


  • Hi,

    yes, it is possible to switch to Legato Mode Poly. In the player on bottom, go to the Perform tab, on the right side the first option. The default is Mono.

    Best, Ben


    Ben@VSL | IT & Product Specialist
  • Thank you, but I meant, is it possible to switch back and forth, using a keyswitch or CC event? I know I can switch it manually, but that does me no good if I need to switch back and forth between unison and divisi strings. Sorry I wasn't clearer.


  • Yes, go to the Control Tab and klick on the "+" sign. There is an entry "Legato Mode" that you can assign to different kinds of events (except key-switches).


    Ben@VSL | IT & Product Specialist
  • Thanks again, I'll give it a try!


  • Please let me add a question to this topic.

    Is there a reason to choose Mono Legato, instead of Poly? Wouldn't Poly be more versatile, by leaving the composer decide how much of the tail of the preceding note should remain when the second note is triggered?

    I'm tempted to save all my Synchron and Synchronized presets with Legato set to Poly, as I see I did with my VI presets. And maybe add a controller (CC34*, so that is is next to Legato Blur=CC33) to the Legato Mode switch.

    Paolo

    * Note: CC34 is already pre-mapped to Stretch Factor. So, the choice is between using CC35 for Legato Mono/Poly, or move Stretch Factor to CC35. The former option would require less editing on the existing presets.


  • https://forum.vsl.co.at/topic/48973/Feature Requests For The Synchron Player/274374

  • Somewhere else, another manufacturer of orchestral libraries suggests that mono legato is better with their product, since the player may get confused by poly legato (is it a smooth legato, or the beginning of a chord?).

    So, I guess I'll leave it mono legato, but will create two techniques in Dorico: 'Legato Poly' and 'Legato Mono', one sending CC35=0 and the other CC35=127. It will be easy to insert them as a hidden technique in the score, and easily replicate it to the various instruments.

    Paolo