perf-legato_sul

[jbm]

Just two questions:

1) Is there any way of knowing (i.e., documentation of) where the strings switch on the legato_sul instruments?

2) Am I right in guessing that, if I play a legato scale from low G on a violin (for example) ascending to the top of the playable range, I will remain on the G string? Would this be the case for the D, A, and E strings on the violin as well? (Which would basically answer my first question.)

And assuming this mapping is automated, would there ever be a possibility of assigning a controller to string selection -- it would be cool to be able to specify the string, for orchestration/colour purposes (e.g., upper register parts played on the G string).

J.

[david ender]

I'm sorry, there's no indication in the sample names where the string changes take place, so I can't tell you. I think it would be reasonable to assume that at least for upward movements, the starting note counts, so you would get up to an octave from G, etc. But it boggles my mind to figure out for more than two-note sequences how it would go on ...

Regards,
David
VSL manuals

[DG]

The other big problem with the sul patches is that they all seem to use some sort of portamento. On the Double Bass this is probably more accurate, but for the other strings instruments, especially the Violin, it makes the patches pretty much useless to me. They are OK in some kind of shadowy backing sense, but other than that they don't really do what it says on the in. This is why I like the 20 Violins patches, because the string crossings are less glaringly obvious as in the Orchestral Strings, which are sometimes so "in your face" that they become unusable.

DG

[plowman]

I asked a similar question about a year ago. If memory serves, Herb indicated that no per-string distinction was intended. I've assumed that they chose the most fluid combination of suls to allow for a homogenous patch. And it is quite playable.

That said, each string carries its own timbre when played by itself, and that's the whole point of sul designations. So the patch isn't quite all there.

"2) Am I right in guessing that, if I play a legato scale from low G on a violin (for example) ascending to the top of the playable range, I will remain on the G string?"

That would be a clever idea, but problematic. For example, if in the open of Scheherazade's third movement, the violins are sul D, but the first note is B4 (C4 as middle C), how would VI know that you intended sul D and not sul A?

Full-range sul strings may be the only orchestral method over a century old that isn't fully represented in VSL. I'm surprised there aren't more requests for it.

I use the current suls when I want a slower legato. Sometimes it's a good mid-point between legato and portamento. Also, if you want a more pliable legato, slip a solo sul under a full section legato and tweak to taste. It can add an alarming dot of realism here and there when used judiciously.

[jbm]

Thanks for the replies.

I use the sul patches occasionally, when I want the sound of a shift (just somewhere between a portamento and a legato). Otherwise they don't get much mileage. I agree that the portamento effect is a bit strong... But I imagine their intention was to model a shift, rather than the performance of entire phrases on one string. So maybe the naming is just a little off -- perf-legato_shift, maybe? (How many times can I write "shift" in such a short post?...)

J.