Hmm. The old "open string" trick. I've encountered that before in rehearsal and dreaded the arguments that ensued afterwards. It's no different when a conductor asks for a louder forte or a softer piano-- and the request is not honored. The choices seem to be either hearing open strings sticking out or mutiny...
I thought the VSL forum was the one place I could get away from string players who tend to be generally opposed to high end sample libraries that are finding their way onto film scores, etc., and in effect putting orchestral players "out of work" (in situations where there is, ironically, no budget for an orchestra anyway). By that statement I commend you for your deditcation to PE and VI (despite the keyboard comment!!). : )
@DG said:
Ummmmmmmmm, thinking out loud it could be applied to the last note before the "tune" starts I suppose.
The most important thing in this case is to find a patch with the proper vibrato behaviors, but because every violinist has their own ideas about how such a note should be played, VI might offer offer limited choices right out of the box. The closest you are going get, I think, is with some method of layering or custom cross-fading of a sort, be that a method of putting patches in cell layers and using CC#'s to control various elements of the component sounds or to load two or more instances of a VI on tracks with duplicate MIDI note data for a greater control over the blend and behavior of these elements.
Other than combining Solo, Chamber, and Orchestral string elements, it's still a little tricky to pin down your intent here. Please offer additional examples. Is this a case where there is just one note in a series, or a succession of notes with the articulation and vibrato you seek?