HERB.....we need more PFP stuff......

[svonkampen]

HERB,

How are you? BTW ...I love my VI interface, after a day, I am making nothing but crazy, whacky super, realistic presets of my own........

As you said the key to great lead lines is combining the Leg patches with DYN samples......As I did to obtain the John Barry string.......

This is where the library needs MORE! In addition to PFP, we really need "pp to mf to pp" etc AND all those NEED to be available in CON SORD, SUL PONT, AND TRILL AND TREM

For instance ...reconstruct some of the ultra-quiet tension cues from Bernard Herrmann's Cape Fear (lots of swells of viola sul-punt trem/trill, rising from ppp to m to ppp) is currently not possible.


I would pay for that! All the dyn stuff needs to be available for chamber strings as well)


For me this is my only issue (aside from the ADSR being buggy[;)]


Especially for us Movie guys, it is all about the swells...The ones we have are great, but they all rise to Forte, and in tense film material it is all about the quiet swells......

Thanx,

SvK

[Bruce]

This is what I do: setup a crossfade patch e.g. violins14 nv to vib and lower the volume in the nv patch to 40-50% and use modwheel to swell or fade. Simple.

[svonkampen]

Hi Bruce,

yeah ...i do that as well.........but it doesn't sound anywhere near as glorious as the real deal.....


SvK

[svonkampen]

Bruce...I did not mean to come off short....

It is a great technique...I use every day....BUT it worx best in a crowded arrangement...

These Hermanesque tension pieces are just the violas or strings on their own ...so there is no hiding behind other instruments, and then it becomes noticeable that it is a afake swell rather than a real sample...

SvK

[Bruce]

I'm waiting for the Epic strings or whatever they are called before making a stand.

[Rob Elliott]

Hey guys - in addition to having a Xcell fade (one footpedal) I have assigned the other footpedal to the vel Xf - that really helps on expression.

I am not real pleased with the 'legato' sound of it (both patches are VL-14 sus FA auto (vibrato and no vibrato as outlined above.)

Has anyone added a parallel cell for this - if so - which 'legato' one?


Rob

[magates]

yea but the timing is always going to be an issue with timed patches like that. and it's too limiting compared to the crossfade technique. not sure I'd vote or pay for more of them.

[Rob Elliott]

Couldn't agree more Matt. I think 4 vel levels on and Vel XF is very expressive - can't wait to hear this on Appasonata strgs [:D]

Rob

[DG]

@magates said:

yea but the timing is always going to be an issue with timed patches like that. and it's too limiting compared to the crossfade technique. not sure I'd vote or pay for more of them.

..........unless there is a timestretch/contract facility like K2. Actually this would also work well for the scale passages. I like the xfade for ensembles, but it doesn't really work so well for solo instruments. This is a definite case for some sort of sample morphing.

DG

[svonkampen]

Magates


That is not entirely true.......since you swell up with PFPs but switch to a decrecsendo sample for down swell .....

Soooo as long as you choose a pfp that is a little longer than your upswell needs to be you are ok [;)]

AND it does sound waaayyyy more real....


SvK

[magates]

I would wager the "peformance dynamics" are possible but only a true programing genious will be able to create them.

[svonkampen]

Magates.....

I'm not a programming genius.....but why not try my John Barry FXB.....


It does exactly what I'm talking about.....just follow the instructions...

SvK