William-
First off, I have created my own samples - there you go assuming incorrectly and showing your ignorance (yet again). If I had recorded the A3 cello sample in question, I would have redone it because it sounds so out-of-place when compared to the other samples. I still don't understand your personal attacks on me, they are clearly uncalled-for. Any sane person reading the above posts would see that your attacks were clearly un-provoked, and frankly show a deep-seeded bitterness and insecurity. All I ask is that you don't assume things about me that you clearly don't know, and get to the issue of what is being talked about. Have you even listened to the sample in question? Have you played it repeatedly and compared it all others notes from that instrument? Surely, if you had (assuming, as I do, that you have some musical sense) you would see that this is a pitch and articulation variation that is not up to the world-class standards of the rest of the library. Now, Gugliel asks that VSL take a look at this and I agreed. There was and is no need to personally attack me or Gugliel.
That will be all from you. [:)]
thanks,
mvanbebber

Gugliemo,
Is it possible for you to post a sample of what you're trying to do?
Say 2 or 3 bars? Then at least the sample in question gets an airing in the context and tempo in which you're trying to use it, and we all get a better idea.
I just find it hard to believe that from the use you've described, that a rapid repeat of a sample designed to be played slowly and expressively is the way to go.
Because if that's the case, VSL are getting questioned and their standard queried in this very public forum for the sake of using a sample that's designed for something else, and i think it's fair that we who are commenting, and those who are interested in the products, get a chance to form an opinion based on reality, not conjecture.

Regards,

Alex.

@hermitage59 said:

Gugliemo,
Is it possible for you to post a sample of what you're trying to do?
Say 2 or 3 bars? Then at least the sample in question gets an airing in the context and tempo in which you're trying to use it, and we all get a better idea.
I just find it hard to believe that from the use you've described, that a rapid repeat of a sample designed to be played slowly and expressively is the way to go.
Because if that's the case, VSL are getting questioned and their standard queried in this very public forum for the sake of using a sample that's designed for something else, and i think it's fair that we who are commenting, and those who are interested in the products, get a chance to form an opinion based on reality, not conjecture.

Regards,

Alex.

Good point, I would hope that people would not comment unless they have heard this sample that Gugliel is referring to. A demo would help others to hear the inconsistency in the instrument - and would be much appreciated.

Hey, Alex -- thanks for staying calm! The repeated-note scenario was just to illustrate the front part of the sample, I don't use this patch in that way.

While I have time to forum-browse while waiting for things to load and save and reload and resave, making examples eats directly into work time, so I'll not take that time. Really, I was just playing a low A, forte, half note (crotchet) in moderate tempo, duplicated on two tracks, one with this patch and one with another patch. The note stuck out in the musical line, so I examined it more closely.

@gugliel said:

Here's one of those philosophical differences --- I DO want to make recordings like Jackie Dupre's, and Pablo Casal's, with tuning all over the place. But like her, and like him, I want the tuning to be expressive, not accidental! To do that it's necessary to have trustworthy samples, and to put your bow noise where it should be not where it accidentally falls. But this argument has been treated several times before here and elsewhere, and it's not that important, maybe.

If you want to make recordings like Jackie Dupre's, and Pablo Casal's, hire a good Cello player. Simple solution.