# FluffyAudio: Trio Broz - Solo Violin - RELEASED - INTRO PRICE until the end of May - 30% SALE on ALL



## paoling (May 15, 2015)

Hi to all! This is the official announcement for the imminent release of Trio Broz: Solo Violin!





More over to celebrate the introduction of the new Shopping Cart system every product on the shop is ON SALE at 30% till the end of the month. Not now, that's why we make you to wait a little time for the whole thing :-D

Lovely instruments, played by sensible and talented musicians in an outstanding recording hall: the outcome can't be different than a unique set of sample libraries that we are glad to offer you!

From Antonio Stradivari to Gasparo da Salò, from Giovanni Battista Guadagnini to Guarneri del Gesù, Italian violin makers created some of the best handicrafts to serve the art of great musicians such as Niccolò Paganini, Arcangelo Corelli, Giuseppe Tartini.

*Trio Broz: Solo Violin* for Kontakt 4.2.4 (and above) tries to follow this tradition: the *delicate lyricism* meets the flexible *ready-to-go playability* in a powerful engine that blends together natural expressivity, pristine recordings and control.

[flash width=550 height=250 loop=false]http://player.soundcloud.com/player.swf?url=https%3A//api.soundcloud.com/playlists/104428887&secret_url=false[/flash]





*PRISTINE QUALITY SAMPLING*

We sampled a *string trio* of talented Italian musicians, Barbara (violin), Giada (viola) and Klaus (cello), at the amazing Teatro delle Voci in Treviso. The violin features up to *3.5 octaves*, *4 dynamic layers* for sustained articulations, *2 legato types*, 4 Round Robins for short articulations like *Spiccato, Staccato and Pizzicato*. We provide you the ability to create your unique sound by mixing the 3 available microphones positions (Close, Mid and Far). The recording was made *top quality gear*: Schoeps and AudioTechnica microphones, Neve and Digital Millennia Preamps.


*DCE - DYNAMIC CONTROL ENGINE*


When developing the library we tried to avoid to over-process the samples by using compression and normalization. So we needed a special scripting device which could blend all the samples' transitions in a very smooth and realistic way. We developed an external tool which analyzes the samples and imports this data into Kontakt called *Dynamic Control Engine*. Thanks to the *DCE*, Kontakt knows the volumes of the samples currently playing in the instrument and matches the volume of the incoming samples with the previous ones.

In the end the DCE works flawlessly "under the hood" leaving the user just the joy to play and to build his expressive legato phrases.

*PITCH WHEEL CONTROL*

More over, as described in the video below, the instrument features *dynamic articulations* like *accented* and *crescendo* attacks and *glissando/legato* articulations, dynamically controlled by the Pitch Wheel. This allows to craft beautiful musical phrases with a smooth beginning and a faded ending or abrupt accented notes with slurred passages along the way. The versatility of the DCE engine handles smoothly all these techniques.



FEATURES

- *6862 samples*

- 6.5 GB ncw compressed sample pool (11 GB original sample size)

- *3 mic positions*

- *3.5+ octaves note range*

- Vibrato, non-vibrato + synthesized vibrato

- Staccato, Spiccato, Pizzicato articulations with *4 Round Robins*

- *Dynamic Control Engine*

- 4 dynamic layers for sustained articulations

- *Pitch-Wheel controlled sub articulations* like crescendo, accented attack, decrescendo

- Two true-legato articulations: *fingered legato and glissando*

- *Humanized tuning*

- Automatic legato speed based on the analysis of your performance

- 17 Impulse Reverbs

- *Animated GUI* with many configurable parameters

- Ready-to-play presets


PRICE: *99Euro / 109 $ until the end of May * (then the price will be 119 Euro/129$)

About Euro VAT Charges: VAT is included in the our store prices. We take care of the different customer VATs, so what you see is the final price you have to pay. However if you have a valid VAT ID you can have the VAT discounted and get the products at a lower price (make sure to enter it in the last panel before the checkout!).

more info at 

http://fluffyaudio.com/shop/triobroz-solo-violin


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## Kralc (May 15, 2015)

Yeah! Congrats on the release Paolo.


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## paoling (May 15, 2015)

Available in few minutes!
:D 

o-[][]-o 

o=<

Released!


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## paoling (May 15, 2015)

We already have the three winners! In anycase this is your chance to get our new release and other cool instruments at a special discounted price!


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## Mihkel Zilmer (May 15, 2015)

*Re: FluffyAudio: Trio Broz - Solo Violin - AVAILABLE IN FEW HOURS! - SPEED BUYING CONTEST ANNOUNCED and TOTAL SALE!*

As the second person to purchase this library, I urgently needed your violin for a project.. But I definitely won't say no to a free cello either 

Thank you and congratulations on the release!


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## tack (May 15, 2015)

Congrats on the release!

Out of curiosity, is there a rough ETA on the viola and cello?


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## constaneum (May 15, 2015)

I've been waiting the whole night until I got tired and slept. Didn't realise you release during my sleep. Oh well, miss the chance for the game but glad to have purchased this baby ! Cant wait to try out. =)


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## Neifion (May 15, 2015)

Congrats on the release guys! Any chance we can peek at the manual before purchase?


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## paoling (May 16, 2015)

Thank you guys!
A full manual is actually in the development, it will be released in a week and it will be available to the public. In the meantime you can check a quite extensive FAQ here which contains many infos about getting the best from the instrument:

http://fluffyaudio.com/wp-content/uploads/2015/05/Quick-tips1.pdf

The ETA for the Cello is about the end of June, while the Viola in the middle of August.
As you can imagine, there will be a bundle for the whole trio and buyers of the single instrument will have the possibility to get it without loosing a single penny 8) 

In the meantime we've received a lovely tune from composer Mike Marino, you can listen it here:

[flash width=550 height=100 loop=false]http://player.soundcloud.com/player.swf?url=https://api.soundcloud.com/tracks/205731362&secret_url=false[/flash]


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## shakuman (May 16, 2015)

Hi Paolo.
The credit card payment doesn't work for me! I used my CC this morning for DidgHybridoo with no issue!! >8o 

Shakuman.


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## paoling (May 16, 2015)

Hi Shaku, please write me at support (at) fluffyaudio.com with these details:
Name Surname
Location
Credit Card provider (VISA/MASTERCARD/MASTERCARD DEBIT/ etc..)
NOT INCLUDE THE CREDIT CARD NUMBER! (eheh)


I'll forward this info to our Fastspring store to check what's the problem. 
I apologize.


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## shakuman (May 16, 2015)

Done!.. BTW same issue with Paypal. >8o


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## constaneum (May 17, 2015)

Testing my new composition with this beautiful sampled violin. Extremely loving this baby !!


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## lee (May 19, 2015)

The Solo Violin is a download product right? Couldnt find the info, but assumed it was.


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## re-peat (May 19, 2015)

constaneum @ Sun May 17 said:


> Testing my new composition with this beautiful sampled violin. Extremely loving this baby !!


Constaneum,

I listened — it’s this piece, right? — but, assuming that your demo gives us a more or less reliable idea of what the instrument sounds like in its finished, purchasable state, I’m afraid all it did was strongly reinforce my initial impression that there is something sadly wrong with it. Honestly, it really does sound very thin, nasal and metallic, I find.
I'm actually hoping you made some production mistake or other with this violin track, cause if you didn't, I don't think I like what the Trio Broz Violin download contains.

Totally unrelated, but perhaps you like to know anyway: that cello which you used — at least, I think it’s the cello which is responsible — causes several moments where things boom quite unpleasantly and, lingering as these moments do, dissonantly.
It starts at 1’14”, there’s another one at 1’18 and then at 1’24, 1’26”, 1’31”, 1’39” plus a couple more later on in the piece.
Given the mood and the style of the music, it would come as a surprise if any of these moments were intentional.

_


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## Penthagram (May 19, 2015)

Re-peat,

as im a demo maker from the library i prefer to stay out of the comments as perhaps people can think that my perspective is biased.

But i just want to say that the violin sound good, and is a really playable instrument. With a little work you can do it sound really good. Of course that´s an opinion.

you can hear my demo here, with almost non process going on. just an slight reverb. 

https://soundcloud.com/penthagram/the-last-one

Also as i think it´s important to be fair both with the developer ( as they put lot of effort in any product they develop ) and with the customer who purchase instrumetns, so i will record a video of realtime playing without no processing going on and absolutely naked. So people can get conclusions, but based on something more neutral than a dressed demo with eq and dynamics, with a final sound based in a personal taste.

As a personal opinion, i find Trio Broz violin a good instrument. and Covers some areas in my sound libraries .

regards!


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## re-peat (May 19, 2015)

I’m soooo very sorry, David, but I listen with all the benign and fair-minded goodwill I can muster to all these demos, yours included, and I always find myself arriving at the exact same conclusion: too bright, too brittle, too thin, too piercing, too metallic. It’s as if these violin-samples were processed with nothing but highpass filters, Clariphonics, AuralExciters and TiltEq’s. Try as I may, I just don’t hear any trace of warmth in this instrument, let alone any suggestion that it is capable of full-blooded, expressive roundness in its tone. Ever so sorry.

Having said that, and this is the last thing I will say about it in this thread, mine is only a single individual’s opinion and I’m sure that many people will enjoy this library enormously and put it to good use in their music. I’m just not going to be one of them, that’s all.

_


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## Penthagram (May 19, 2015)

Repeat,

nothing to sorry about. Sure we have different sensibilities and aesthetics about music/sound. 

Just out of curiosity, and nothing related to your opinion about the library, but just as im curious. Through which monitors/headphones are you listening?

regards


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## paoling (May 19, 2015)

@re-peat:
I gave my impressions about this piece to Costaneum via PM. I agree with all the things you said apart about the quality instrument itself. (not just the violin, many comments could be made about all the other instruments in this piece).

Other elements of his piece shows clearly a lack of mixing skills which are beyond the sound of the single instruments, but in any case I don't think this is the proper thread to discuss about this. Say whatever you want on our instrument, but taking this piece as a proof of your opinions is a bit trivial.

Sound problems apart, I liked many musical ideas in his piece.

Our instrument feature a "silkener" parameter, which equalize the sound of the violin to get a warmer sound, but in the end I think that the problem you are referring is mostly in the register which many demos are. A good violin piece never stays so high with steady notes, when it plays high it often make arpeggios to get the higher notes or plays with great dynamic movements. 

We take any kind of comment very seriously, and since what this instrument offers is almost a raw recording of the original material, it's completely possible that we reprocess all the samples to give the user a better sound. Or to implement a feature to "warm" the tone to suit any personal taste.

But keep in mind that the sound of this instrument is the major point selling point of our library. It doesn't sound low passed as many others, and the user can apply all the processing that he prefers. We had countless of great feedbacks about the tone of the instrument and this is one of the few libs that let you to customize the sound in this way. We can even remove/reduce the bow noise, but as I repeat, this is a natural thing of the instrument and I feel it's great. 

In any case, I re-peat (eheh), I take every comment on our work very seriously and hopefully opinions like yours can let us to improve the instrument and our work in the future. So I'd like to offer you a NFR of our library to play with, so you could give me your feedback based on your personal experience with the library.

I feel very sorry for Costaneum piece to be exposed in this way into this discussion.


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## Luca Capozzi (May 19, 2015)

re-peat @ Tue May 19 said:


> too bright, too brittle, too thin, too piercing, too metallic.



I'm sorry but I disagree.. I tested the violin on a couple of mastering grade speakers and it sounds good to me, even as is.. then if I process the sound and add other reverbs, I like it more. As a solo violin, sits very good in a mix. Maybe wouldn't fit every track you are going to write, but it definitely sounds good.

My 2 cents 
Luca


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## lee (May 19, 2015)

lee @ Tue May 19 said:


> The Solo Violin is a download product right? Couldnt find the info, but assumed it was.



Bump


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## re-peat (May 19, 2015)

Penthagram @ Tue May 19 said:


> (...) Through which monitors/headphones are you listening?


Slightly painful and shameful manoeuvre, *Diaz*. If I were in a slightly less jolly mood than I am, I might consider that question an insult in disguise. (See, I’m of the arrogant opinion that you have to come up with a better sound of your own first, before being entitled to be doubtful about someone else's listening capabilities.)
For your information, I am known around here as “neanderthal attitude, but great ears”, an epitheton I wear with pride and that one doesn’t earn by chronically talking nonsense about how things sound. And for your further education, those great ears listen to a terrific monitor system consisting of either a pair of ADAM P11’s, or an EMES Black duo with an Amber sub (German handmade exquisitness in sound reproduction), depending on which configuration I select on my monitor controller. The Broz violin fails to please me on both. Headphones: Sennheiser HD600 (old, but good), but I haven’t listened to the demos on that one yet, and I doubt I ever will.

*Paolo,*

Thanks for your kind and most generous offer, but I’m not in the habit of accepting free libraries — the rare times that I did, I always regretted it immensely, finding myself robbed of the option to speak candidly and critically about the product.
You know what? I’m going to buy your violin. Buy it, yes. And if I manage to get a great sound out of it, I’ll come back here, drop the trousers, bow my head in shame and apologize publicly. And you will find in me, from then on, a staunch and passionate supporter of your product. If however, the violin keeps disappointing me the way it has done so far — a contingency that seems the more likely, I’m sorry to say — I fear I will have to stick to my waterpistols and keep on saying what I’ve said so far.
But again: thanks very much for your kindness, insightfulness and your positive perspective on our difference of opinion.

(I made a purchase just prior to submitting this post. Awaiting download links now.) 

_


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## Penthagram (May 19, 2015)

Oh, Re-peat

I don´t pretend to insult you. if you feel that way i apologize for just make that question in that way. You are judging a product, and im just curious about your gear. I think is a absolutely normal question, and you don´t need to feel attacked. 

I don´t want to add noise in the Violin thread. so im apologize both Paolo and you.

regards!


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## Theseus (May 19, 2015)

I think the Dynamic control engine is a really great idea, and most transitions sound good, with the right amount of vibrato for most passages.

Regarding the "thin" sound, I'm afraid I concur with Repeat though. Just for the record, I listen on a pair of Amphion monitors in a treated room as well as on Audeze LCD2 headphones through SPL Phonitor, so I know for a fact my setup doesn't get in the way. It's very easy for anyone to make a little comparison by pulling up a recorded violin solo, and by doing so, I feel there's some air and body missing in the 200-300 range.

Could it be the microphone blend used for most demos? Is there a warmer/denser mic position that could shed some new light on the matter? 

In any case, I applaud Paolo's attitude and generous offer to Repeat, as well as Repeat ethics regarding that offer. It's great to feel a developer truly open to improving his product.


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## Penthagram (May 19, 2015)

Theseus, i only have heard good things about amphion monitors.

A very well known music producer here in spain recommend it a lot. and i have it in big respect. 

Regarding the mic positions, i can only talk about my demo, as don´t know about the others, i used the default mic position. I think it´s a mix of the three positions. Paolo can confirm this.

regards.


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## Scrianinoff (May 19, 2015)

I think the trio and the live violin sound wonderful in the first part of the video. What really puzzles me is why there is such a big difference between that sound and the sound of the sampled violin in the second part of the video. Even played through the tiny mono speaker of my phone I can clearly hear the difference. Is it possible to massage the sampled violin sound back into the sound of the live violin played by Barbara Broz?


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## Rob (May 19, 2015)

Penthagram @ 19th May 2015 said:


> .......
> 
> you can hear my demo here, with almost non process going on. just an slight reverb.
> 
> ...



Lovely demo...


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## Peter Cavallo (May 19, 2015)

> I think the trio and the live violin sound wonderful in the first part of the video. What really puzzles me is why there is such a big difference between that sound and the sound of the sampled violin in the second part of the video. Even played through the tiny mono speaker of my phone I can clearly hear the difference. Is it possible to massage the sampled violin sound back into the sound of the live violin played by Barbara Broz?



What I find is that with every solo violin library, and I've got many and heard many. the lower register usually sounds great but as soon as you get to the upper register it's stops becoming a violin and starts sounding like an non violin :roll: type instrument. 

Don't get me wrong I think Fluffy have done a very good job especially the lower register samples but I can only imagine how hard it is to get the upper register sounding authentic. It's a very challenging task and I respect anyone trying to attempt this but in reality nothing really comes close to the real player when bow touches string.

I myself eventually gave up and used a real player and the difference is well - authentic. It did cost me more than what this library costs to do one piece so I guess you have to weight it up.

Nevertheless, I will be buying this library as I'm a sample library junkie. :roll:


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## Gzu (May 19, 2015)

Hello everyone!!

In my opinion the violin sounds absolutely great...best I've heard so far!
I don't know if counts, but in a Focal twin 6Be with lavry Da11, in a treated room, its absolutely marvelous!
I've made some adjustments in dynamics, and used also the "silk" control button, to adjust the sound, and let me tell you, is very very good!!
My only suggestion goes to the crescendo and decrescendos, they should stop, once we press any other note, and not to blend with the next note...maybe that function is available, but I don't seem to find it, and the glissando shouldn't have the initial delay between the pressed note, and the next one.
Maybe all this suggestions are already implemented, but since the user's manual is not ready yet, I'm not sure if what I suggest is correct, but I'm sure if this is true, at some point, the developer's will fix it!!

Anyway, great work!!!

Congratulations to the developers!!!
I'm just waiting for the cello and viola!! o[]) 

Best regards!!!


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## DMarr82 (May 19, 2015)

Scrianinoff @ Tue May 19 said:


> I think the trio and the live violin sound wonderful in the first part of the video. What really puzzles me is why there is such a big difference between that sound and the sound of the sampled violin in the second part of the video



Probably because it is a different recording?



Peter Cavallo @ Tue May 19 said:


> What I find is that with every solo violin library, and I've got many and heard many. the lower register usually sounds great but as soon as you get to the upper register it's stops becoming a violin and starts sounding like an non violin



I don't know - my recording experience is limited, but what I can tell you for sure is that it shouldn't be "easy" to capture one range of an instrument, and "difficult" to capture another. Either the recording is good, or the recording is not good. Does Dennis Sands at Sony tell the violin player to stop playing after he hits a certain note, so he can swap the mic - or change the mic position - when the player starts playing in the upper register?

My question is - the demo by David sounds really good, and the peice by constatenum sounds like crud. Why?


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## constaneum (May 19, 2015)

nah. no worries on getting my music piece blasted with bad comments. I'm treating each comment as an encouragement for room for improvement. Don't get me wrong but this trial piece which i worked was just to showcase the ease of programming "portamento" and "run" with this violin. The dynamic i used throughout the the piece was almost max, which might have resort in the dislikes which most of you've addressed it as "crud" sounding.

In my honest opinion, I do find the raw sound itself a bit thin and bright (no offense, Fluffyaudio team) but at least it has the tone i want. Its thin and bright might be the reason why you're comparing it with the cello which sounds a bit more lush and less bright and a bit wet. If you wanna know what's the cello i'm using, that's Cinesample's Acoustic Cello (by nature of its recording, it's not a dry Cello) I'm still learning on how to mix dry and wet libraries well in a mix, therefore please do excuse me in that for not delivering a well mixed piece.

Anyway, i'm still quite satisfied and i have to praise this product's ease of usability/programming.


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## procreative (May 20, 2015)

Can I ask anyone who owns this or the develop about the vibrato:

1. I see there are no vibrato, vibrato and synthesised vibrato. So I presume the latter is similar to Embertone using a modulation?

2. What about the vibrato, is it crosshead with non vibrato or are they separate?

3. Is the baked in vibrato instant or gradual? For example some libraries have vibrato from the start of the note which can end up sounding a little fake.

4. Lastly am I correct that the portamento interval speeds adjust to the tempo/speed?


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## constaneum (May 20, 2015)

Base on what I've tested so far, I don't think I,ve come across any vibrato control function. Crosshead or crossfade? It's always on vibrato. If u want non vibrato, u need to use key switch to switch to non-vibrato function. As for the vibrato, it's mostly instant unless you use pitch wheel to begin a note with decresendo (slow attack). Lastly, I didn't come across any portamento speed control function and I don't think it's tempo sync either. I could be wrong for all the mentioned as I'm self exploring the library. Wait till the manual is out and we'll understand better.


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## procreative (May 20, 2015)

Thanks and I did type crossfade but Safari (or the OS?) keeps auto-correcting words!! Makes me so damn peaced off (auto corrected).


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## re-peat (May 20, 2015)

Well, I have had a chance to look at this Broz violin a bit more closely now — only for an hour or two, but it proved ample — and I fear I will have to keep disagreeing with anyone who insists that this sounds good. Because it doesn't. It just doesn’t. Sorry.
As I already suspected from the very first demo that I heard a week or so ago, the vast majority of these samples are very aggressively high-pass filtered, resulting in a timbre that I can’t for the life of me describe in any other way as I’ve described it so far.

Not only that, but thin and brittle sound is also something which tires the ear very quickly, and you don’t have to work with this library for too long before that unpleasant effect sets in. (I had already a feeling this was going to happen while listening to some of the previously posted longer demos, and gradually being overtaken by an urge to shout: “Can somebody please virtually shoot that virtual violin player?”, only because after a few minutes, I simply can’t stand another note of it.) 

I tried the “Silkener”, which is little more than a standard Kontakt 3-band EQ and as such, quite incapable to do much good at all. Besides, with the body and warmth of the timbre being completely filtered away, there is not a tool in the world that could come to the rescue here. Because there’s nothing left to work with. 
What a pity. And how must Barbara feel (this question actually popped into my mind yesterday evening) when she hears her no doubt gorgeous playing being reduced to this collection of thin, uninspiring and unsettling sounds.

It is now quite clear, by the way, why the high-pass filtering was deemed necessary. In the one layer that seems to have been overlooked to undergo that same extreme amount of processing (the soft, non-legato sustains, which are also filtered, but not as drastically), there are distinctly noisy remains from some rumble rising up from the bottom — the sort of noise that would Edmund Blackadder have inspired to remark: "Yes sir, but surely that has been traced to a shipment of garlic eclairs? — which, as a result, has the off-putting side-effect that there is a *very* inconsistent sound between those non-legato sustains (with the noise) and the legato sustains (which have the noise filtered a way). To get rid of this inconsistency, this violin would need to be submitted to yet another treatment of high-pass filtering. 

Here’s *an example* of the noise/no-noise difference. Surely, this is not good? Surely, no one who appreciates decent sound (I don’t even dare say ‘good sound’), can approve of this?
Or am I, like the samples, being too harsh?

I’d have loved to have been able to speak differently about this library — and if I were to focus exclusively on its concept, perhaps I could —, but sadly, as will be clear by now, that is not going to happen. It was badly recorded to begin with, hence needed extreme processing to minimize the flaws in the recording, and it is now a library for which I can only see a very limited use: as a sort of subtle textural overlay for other string libraries. Haven’t tried that yet, but I have a feeling that might actually work. Never ever will I be using this as an exposed solo instrument though.

_


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## Luca Capozzi (May 20, 2015)

Please note: i'm not affiliated with FluffyAudio.. it's just that I can't stand when a developer is bashed that way just for the sake to prove a point.

For what I can listen from the mp3 you posted, looks like you didn't moved the modwheel from it's start position so you are playing the pianissimo layer that features an higher friction noise from the bow. http://lucacapozzi.com/test1.mp3 (Here) is the same example at an higher velocity. Just a couple of notes. I also analysed a couple of samples on RX and honestly I can't see any aggressively high-pass filtering in there. 

I can understand you don't like the library and you have to prove your point, but that's a very bad way to do it.

My 2 cents.

Luca


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## Olmo (May 20, 2015)

*@Scrianinoff:*
It’s the same recording environment. 

*@Gzu: *
About the _crescendo/decrescendo_, you are absolutely right about it. Please remember that the length of your _crescendo_ and _decrescendo_ it’s directly proportional to the movement of the pitchweel (“less” pitchweel -> shorten _crescendo/decrescendo_). About cutting the previous note: we can implement this function, maybe only when the next note is different from the previous one. Moreover the _crescendo/decrescendo_ can be used as a dynamic control to "breath" in the middle of a phrase.

*@Procreative:*
1) Yes, actually there is _vibrato_ and _non vibrato_. And there' a _synthesized vibrato function_ which you can automate using your favorite controller;







2) They are separate, but you can switch to _non-vibrato/synth vibrato_ in the middle of a phrase using the keyswitch;

3) The _vibrato_ is naturally taken from Barbara performance. As usual, it starts gradually after about half a second and it's proportional to the dynamic;

4) No, there’s no portamento interval speed change, but the two kinds of legato can be used interchangeably by adjusting the pitchwheel. Please note that the instrument automatically shortens the responsively of the _legato_ to suit the performance of the player and ensure that the _legato_ transition is clearly heard.

Last but not least, I kept the contact with Barbara and the Trio since the beginning of our project and it’s my pleasure to say that she’s completely satisfied with our work! Moreover, she was sincerely impressed by David’s demo.


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## Ian Dorsch (May 20, 2015)

I get where Piet is coming from, but this time around I just don't agree with the hyperbole. And this in particular is exceptionally shitty, and crosses the line from critique to cruelty:



re-peat @ Wed May 20 said:


> And how must Barbara feel (this question actually popped into my mind yesterday evening) when she hears her no doubt gorgeous playing being reduced to this collection of thin, uninspiring and unsettling sounds.



Like any sampled instrument, the Trio Broz violin has limitations, and okay, fair enough, the sound may not appeal to everyone, but I find it much more musically rewarding to write with this sampled violin than with any of the others I own. For capturing the musicality of the performer and translating that into a playable virtual instrument, the TB Violin is the best compromise I've come across. 

I received a free copy of the instrument (my demo has not been posted yet) but I would have happily paid the full price and been a satisfied customer.


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## kurtvanzo (May 20, 2015)

Paoling, although I too feel the demos show a thinner violin, closer to Embertone which I own and don't use much, I'd like to be proven wrong. Is there a proper walk-through video of this in English out there? Perhaps if we could see someone using it and going through all the articulations and possibilities with tone it would show how versatile the instrument is. The current Italian laden video is an interesting promo, but doesn't dig in to all the controls of the instrument.

Also as a mixing/ mastering engineer I don't hear the high pass Re-Peat is mentioning. Depending on the player, instrument, mics, pre-amps, and room it was recorded in, the thickness and tone can vary greatly. Although I had planned to pass on this, I'd like to give it a shot now and try to make a demo that would bring more warmth and variety to the instrument. Please PM me if you can make the same offer. I have most of the other fluffy instruments and the scripting working and attention to detail has always been top notch, I can't imagine this is different. 

But don't get me wrong, I can be critical. :? 

All the best on your developments, -Kurt


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## re-peat (May 20, 2015)

Luca Capozzi @ Wed May 20 said:


> (...) For what I can listen from the mp3 you posted, looks like you didn't moved the modwheel from it's start position so you are playing the pianissimo layer that features an higher friction noise from the bow. http://lucacapozzi.com/test1.mp3 (Here) is the same example at an higher velocity. Just a couple of notes. I also analysed a couple of samples on RX and honestly I can't see any aggressively high-pass filtering in there. (...)


Luca,

I didn’t move the modwheel cause that was not the point of the example. The point of the example was to illustrate that at that velocity level (ppp), either filtered samples or noisy samples are triggered depending on whether one plays legato or not. 
I know, I know, it’s not the end of the world, but still, sloppyness like that annoys me a bit in a supposedly ‘pristinely recorded’ 2015 sample-library.

Besides, you are entirely wrong stating that this is mere bow-noise that we’re hearing, because when I switch off Kontakt’s highpass-filter (which is enabled by default in the first slot)), this is the result: *example 2*
Bow noise?

Or listen to what happens to this sustained G3: *example 3*
Bow noise?

If, as you say, (1) that noise is indeed nothing but "friction of the bow" — you are not really serious with this, I hope — and (2) the samples aren’t excessively filtered, then explain to me this if you please: why is there not a trace of that “bow noise” in the legato-samples (which I also played pianissimo)? 
Why does that noise suddenly appear every time non-legato sustains are near?

You must have a seriously faulty copy of RX, because if I look at the samples with a spectrum analyzer (DMG Audio), there’s a complete and pretty steep roll-of beginning just below 200Hz, in all three microphones. Except, of course, for those soft non-legato sustains which, as I think must be clear by now, show plenty of rumbling activity all the way down.

I welcome people disagreeing with me, Luca, but if you’re going to have a stab at it, please, next time, maybe prepare your case a little bit better. Not so much for me, but for those in whose corner you stand.

_


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## Theseus (May 20, 2015)

Theseus @ Tue May 19 said:


> Could it be the microphone blend used for most demos? Is there a warmer/denser mic position that could shed some new light on the matter?
> 
> In any case, I applaud Paolo's attitude and generous offer to Repeat, as well as Repeat ethics regarding that offer. It's great to feel a developer truly open to improving his product.



I wish I had an answer to that question. Piet implies there's (negative) consistency among the mic positions. So it really isn't possible to get the fundamentals in the 200-300hz range (I mean apart from the rumbling noise heard in Piet's demo...) from any of the mic positions?

I've worked with Millenia preamps. The "problem" isn't coming from those, there are excellent pristine transparent preamps. Schoeps mics are also excellent. I was a little bit surprised to see the Audio Technica mentioned, clearly not a 1st choice AFAIC. Which mic was used, the ATM 350 clip-on?


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## Hannes_F (May 20, 2015)

Speaking as a member, not as a moderator:

Depending on the model certain Audio Technica mics can be excellent for strings if the positioning etc. is right. But certainly no clip-on mics (which can work for live playing but not for this purpose), regardless the brand.

(examples edited out in order to not derail the thread)


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## Theseus (May 20, 2015)

I know, the ATM350 was meant as a joke following Piet's exemples  I'm just trying to figure out what happened, because if the samples weren't high pass filtered, then it's down to what the microphones picked up but it seems strange, because as far as I remember, most Audio Technica have a 80hz HPF that can be engaged, but that wouldn't be responsible for all the body and warmth missing from 200hz and up.

As it is now, I think I could find some use for it to layer on top of a section, à la LASS First chair.


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## Hannes_F (May 20, 2015)

Theseus @ Wed May 20 said:


> I know, the ATM350 was meant as a joke following Piet's exemples  I'm just trying to figure out what happened



(edited) Speaking as a member, not as a moderator:
One problem is that bow noise on the violin is nearly the same regardless the dynamic. So if you pick a ppp sample and boost it to normal volume the bow noise will always be more in proportion to the actual note. So either developers can adress this by handling the users by a manual or FAQ or reach to a highpass.

For prof. courtesy I hardly ever comment on any string libraries and will get out of this thread here too. My point was defending Audio Technica microphones against prejudices :wink:


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## SpeakPianissimoAndCarry.. (May 20, 2015)

I have heard that noise before in other libraries but I cannot make this one give me that noise.


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## paoling (May 20, 2015)

As a developer, and a programmer I always love challenges and problem-solving.
When I had the idea of the DCE and implemented it in a first try of the instrument, I realized that the problem of bumping or sucking legatos which affects many libraries could have been finally solved.
And in some way that's what happened.

https://www.dropbox.com/s/gdc15pselbu60 ... T.wav?dl=0

This is the raw recording Barbara playing live Thais. It's a mix of the three microphones (75% close, 50% mid and 100% far) with little reverb. For RX maniacs there's clearly an environmental noise coming from the bottom 100 Hz.
Hopefully it's common practice among sound engineers to filter the frequencies under the first fundamental of the instrument (the G note at 192 Hz). And so I did (lower than that frequency, anyway). There's no body or nothing coming from the instrument in that range, it's just outside any of the sounds that a violin can produce.

Do you like that recording..? I like it A LOT. On some audio systems it seems to me to have Barbara just in front of me and I like the dry but warm space which doesn't sound cluttered like many studio recorded strings. If you instead don't like it, please don't buy our instrument. We surely can't do better than that. 

Can we match that sound? This is an interesting challenge and I'll do my best, as I've done since now, to get near that as close as possible. Surely THAT instrument has an infinite layers of velocities, infinite legatos, has a better humanizer and a fully controllable vibrato.

Our instrument not, but we can do the best to reach near as close as we can to that. And, according to the wonderful and musical demos we feature on our Soundcloud page, I think that we are not so far from this.

I know where the so called "harshness" come, better than any Clariphonics/Aural exciter (bleah) ipothesis, better than any hipass no hipass doubts which were hypothesized. 
It's just the pushing of the pianissimo layers in an unnatural way which enlights the harmonics and the bow noise in this way. 

As usual it's better practice not to buy a library if you are not convinced and eventually consider it in the future if in the next updates it will suit your liking. But please, this "I will buy so I can shoot my water guns" is a childish approach which simply has no sense. And for the sake of truth, your water pistols hurt more than a childish game.

I respect and have a great consideration of everyone's opinion and I think that we have the tools to improve our product and get better. I have work to do. If someone has suggestions or has a "quite clear idea of what happened", I encourage him to write us directly and his experience will be surely helpful for us.

In any case the discussion here for me is closed.


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## Mike Marino (May 20, 2015)

Much of this discussion seems like it should be taking place in the "SAMPLE Talk" part of the forum instead of Fluffy Audio's "Commercial Announcement" thread.


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## SpeakPianissimoAndCarry.. (May 20, 2015)

All beautiful sounds to me!


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## jas (May 20, 2015)

I also really enjoy this library. I also was a recording engineer in both Hollywood and Italy in the 70's and 80's, and continue to work in Hollywood feature films today as a sound editor. For me, merely lowering the Close mic slightly makes the it quite usable with (for example), the Cinesamples Tina Guo legato cello instrument. My only wish is that the keyswitches could be assigned lower on the keyboard, as I trigger this instrument using Midi Guitar. Positioning the keyswitches an octave lower would take them out of the way of the guitar.


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## constaneum (May 20, 2015)

I really enjoy this library as well even though i got bashed up with negative feedbacks on my "Unforgettable Past" piece. Hahaha. Thanks for the tips, jas on lowering the close mic in order to make it usable with Tina Guo's Legato Cello. Will try that and see how's the mix like. Time to learn more on getting my mix well. 

I personally like this library very much, especially the portamento and possibly run which makes me fell in love with this library. Sounds wise it's still acceptable to me regardless of the negative comments from some. It's just personal preference. Like what Paolo has said, if you dont like it, dont buy ! only buy it if you feel in love with it ! Not all library has nice sounding portamento as this. I gonna explore more on this library on different composition genre and hopefully manual will be out the soonest so that we'll have a better understanding on this library.


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## Dr.Quest (May 20, 2015)

I am trying to figure out how a product announcement thread has got derailed to the extent of this one without one moderator at least suggesting a return to course. Almost every comment dealing with critique should be in a separate Sample Talk thread.
Personally, from the demos alone, I like the sound of what Fluffy Audio has created. If you like it you buy, if not, we'll just pass. But why derail an announcement thread?


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## constaneum (May 20, 2015)

indeed. looks like our moderators need to perform their job better.


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## Hannes_F (May 20, 2015)

Speaking as a moderator, not as a member:

If you like to have some moderator' duties then feel free everybody to send a note to Frederick 

OK then: Although I don't see a forum rules breach yet it would be fortunate if somebody of the Gentlemen here could open a thread in Sample Talk for this interesting discussion.


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## germancomponist (May 21, 2015)

paoling @ Thu May 21 said:


> I know where the so called "harshness" come, better than any Clariphonics/Aural exciter (bleah) ipothesis, better than any hipass no hipass doubts which were hypothesized.
> It's just the pushing of the pianissimo layers in an unnatural way which enlights the harmonics and the bow noise in this way.



This!

I am not a violin player but I have one in my studio. So I did an experiment. 
My playing is horrible, but you can hear it very good, I think. 

I start with ppp and am getting louder then. At the end you can listen to the ppp note, just normalized to -3dB.

https://app.box.com/s/3i9jhdmfshjbwuft6tqivgtwp8o5t5yc

o-[][]-o


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## Scrianinoff (May 21, 2015)

paoling @ Thu 21 May said:


> As a developer, and a programmer I always love challenges and problem-solving.
> When I had the idea of the DCE and implemented it in a first try of the instrument, I realized that the problem of bumping or sucking legatos which affects many libraries could have been finally solved.
> And in some way that's what happened. [...]


Yes, your DCE implementation appears to work very well for transitioning between different layers without producing the dreaded phasing effects. Bravo! And I mean this sincerely, just to avoid confusion after the stream of prior rhetorics. 

In the video you explain that the sample layers are phase aligned for this to work. When I tried a similar approach for my own personal amusement five years ago using some VSL solo instruments as a basis, it had the unwanted effect of making the samples sound as a processed version of the original samples. What I mean with processed is difficult to convey, let's say they sounded more sterile, too pristine, a little too awkward, uncanny ( http://en.wikipedia.org/wiki/Uncanny_valley ). Could it be that your phase alignment approach is producing similar effects, albeit in a less severe manner? EDIT: I must have imagined you said this in the video, because when watching it again just now I only hear you talk about pre-normalizing the layers and letting Kontakt know the original volumes etc. Nothing about phase processing. I am getting old... 

Still(!), there is this huge difference in sound between on one side the sound of the VI, and on the other side the sound in the first part of the video where Barbara plays live. The wav file that you shared a few posts above, of her playing live solo, sounds much closer to the first part of the video than to the VI. And to be clear, I mean just the sound signature, as in the the sound of even a single held note as can be heard in the examples of re-peat and also in the violin improvisation demo you posted on soundcloud. Trying to be even more clear, I do NOT mean the sonic characteristics produced by transitioning layers, user choices in applying vibrato, volume, speed, whatever, just the average tone, average sound signature of the VI itself compared to all your recordings I have heard so far of Barbara playing the violin live. *What* is producing this difference in sound signature? If not phase alignment, if not eq, what is it?

Whatever it is, you could contemplate implementing an option in the VI to switch it on or off according to the needs of the composer. Or you could let us hear a few notes played by unprocessed layers first, and then we could give our opinion on how that sounds compared to the processed (phase aligned) version.


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## Scrianinoff (May 21, 2015)

So, to quickly get a clear impression of the difference in sound signature listen to the wav file posted by paoling above from 0:50 to 1:05, and then to the video from 5:45 to 6:00 in which the same phrase is played on the VI. Of course there's a difference in musical performance, but there shouldn't be such a big difference in sound signature. What is producing the difference?


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## Frederick Russ (May 21, 2015)

Dr.Quest @ Wed May 20 said:


> I am trying to figure out how a product announcement thread has got derailed to the extent of this one without one moderator at least suggesting a return to course. Almost every comment dealing with critique should be in a separate Sample Talk thread.
> Personally, from the demos alone, I like the sound of what Fluffy Audio has created. If you like it you buy, if not, we'll just pass. But why derail an announcement thread?



Hi guys, Frederick here. I've been laid up in bed for a week with 102º fever. I apologize for my absence.

This IS a thread derailment. And on a Commercial Announcement thread. It's not cool, Piet. I recognize that you are PASSIONATE about your opinions. They're valid and we got it. Others opinions are just as valid too however. I would like to hear from those who haven't responded because you have literally taken over the thread. Give them a chance to express themselves too. Your opinion matters but so do theirs. 

Please remember too that this forum - Commercial Announcements - is that. It is a PAID forum and not everybody who wants to can start a thread here. The arguments and comments are probably more appropriate in Sample Talk which is a better location for debating your points. That said - this thread really isn't about you. Its about a product announcement. Your public service announcement has been duly noted.

If you have any questions, feel free to PM me thanks.


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## paoling (May 21, 2015)

Hannes is right and Gunther proved that.

LIVE VERSION

https://www.dropbox.com/s/bubwatpbrnkay5l/LIVE.wav?dl=0

CURRENT VERSION

https://www.dropbox.com/s/cqo3ised4up8z ... O.wav?dl=0

NEXT UPDATE (with bow noise control)

https://www.dropbox.com/s/0hczig9rl6gp8 ... W.wav?dl=0

I'm working on it. Thanks for pointing the issue.


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## Kejero (May 21, 2015)

Huh. I actually prefer the "noisy" version


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## Theseus (May 21, 2015)

That clears up the mystery for me. It's definitely not the mics or the recording but the post-processing. I really feel there's too much life taken away with the filtering. I wish there was a way to get closer to the "live" recording tone, and de-noising even more won't get the samples in the ballpark. 

Paolo, would you consider doing the same demo but with the samples totally unprocessed?


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## Hannes_F (May 21, 2015)

paoling @ Thu May 21 said:


> Hannes is right and Gunther proved that.
> ---
> I'm working on it. Thanks for pointing the issue.



De nada, but I feel if somebody is to be thanked it is Piet. This sort of critique can be as charming as a rusty knife in the stomach if it is your baby but it always sets things into motion. 
Of course as with all sonic repairs it is important to find a good middle ground and not to kill the freshness of the tone. If that is the outcome of this discussion then it was a good one imo (although it still should have been in Sample Talk).


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## ryanstrong (May 21, 2015)

Frederick Russ @ Thu May 21 said:


> Dr.Quest @ Wed May 20 said:
> 
> 
> > I am trying to figure out how a product announcement thread has got derailed to the extent of this one without one moderator at least suggesting a return to course. Almost every comment dealing with critique should be in a separate Sample Talk thread.
> ...



Frederick, is there a way to have a Sample Talk thread created automatically when a Commercial Announcement thread goes up? This way there is an automatic place to have members talk freely about a commercial release?

To be honest, people (myself included) are too lazy to create a brand new Sample Talk thread themselves about a Commercial Announcement thread that has already opened and has momentum.

Seems redundant but if you can't speak freely in Commercial Announcement threads and you can speak "more freely" in Sample Talk threads I think having a automatic duplicate Thread topic is needed.

Otherwise maybe Commercial Announcements should just be locked.


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## Theseus (May 21, 2015)

Hannes_F @ Thu May 21 said:


> De nada, but I feel if somebody is to be thanked it is Piet. This sort of critique can be as charming as a rusty knife in the stomach if it is your baby but it always sets things into motion.
> Of course as with all sonic repairs it is important to find a good middle ground and not to kill the freshness of the tone. If that is the outcome of this discussion then it was a good one imo (although it still should have been in Sample Talk).



Right on the money on both counts!

Now what about that same demo as above but with the samples totally unprocessed (or very mildly)?


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## germancomponist (May 21, 2015)

Theseus @ Thu May 21 said:


> Hannes_F @ Thu May 21 said:
> 
> 
> > De nada, but I feel if somebody is to be thanked it is Piet. This sort of critique can be as charming as a rusty knife in the stomach if it is your baby but it always sets things into motion.
> ...



Would it work fine for the playability for the faked legato in all VI's? A wide field! Yes, no? 
Remember Miroslav Vitous, who I think hated all these faked things in string sample libraries ... .
o/~


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## re-peat (May 23, 2015)

Paolo,

Yesterday, I wrote *this little sketch* for the Broz Violin, trying to discover for myself why and how it enchants some fellow members, and also, most importantly, to let you hear why I’m making such a big thing of the imperfections which I mentioned earlier in the thread.
(Don’t mind the background in this piece, that’s just a bit of quick and basic padding with Loegria. Let’s focus on the violin.)

*(1)* I think you’ll agree that the noisy moments (of which there are many) are, by far, the most annoying and distracting flies in the ointment here. And try as I may — and trust me, I have — I just can’t find a way to avoid them, not with this sort of writing/playing.
*(2)* I had hoped to insert a few more uptempo bits — this slow music is really not my style, to be honest —, but for some reason, the violin didn’t wanna know about it: I can’t make it play fast flourishes convincingly. Nor was I all that pleased with the extended spiccati parts which I tried (and deleted again).
*(3)* At times I hear two violins instead of just one. (Listen to the repeat of the opening phrase at 2’16” for example, and also in the long crescendo, at 2’48”)
*(4)* Sometimes, the bow-changes interfere with the phrasing. Is there a way to control at which point exactly the bow-change will occur?

Other than that, I have to admit I may have been a bit extreme in my earlier complete dismissal of this library’s potential as a solo instrument. There are definitely possibilities here, as I’ve now discovered, and as I think some of this music illustrates.

So, my wish list:
- The noise issue really needs to be addressed. It will be a HUGE improvement.
- Better, snappier shorts. (I would really love to do some things in the style of “L’Histoire Du Soldat”, but this library won’t let me. Which means I have to keep returning to the Gypsy violin.)
- If at all possible, a return to a less drastically high-passed tone. But maybe it’s too late for that, I don’t know.

Thanks for considering some of the above.
Last but most important point on my wish list: all the best to you and to this library.

Piet


_


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## rayinstirling (May 24, 2015)

Yes, COMMERCIAL Announcements should be locked.
Unless of course sycophant and critic are treated as equals. That isn't going to happen because as soon as there is criticism someone other than the developer jumps in to defend their honor.
If someone likes the product then please, give as detailed a review as Piet. That seems fair to me.
If you disagree with any critic's opinion IGNORE it, however, I'm more than happy to make my own mind up on reading and listening to all.

Kind Regards

Ray


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## paoling (May 25, 2015)

Piet. Your last comment is exactly the kind of feedback I'd like to receive from our users. 

We're all working on the same side. I agree: there's some harshness in your example. And your piece is great music indeed.

About the tone of this thread, I think that the whole situation degenerated since the sincerely enthusiastic comment from Marius in the other thread. Apart from the aforementioned phrase about "PRISTINE QUALITY SAMPLING”, we never used hyperboles for our products and we've never said something that "this is the best violin in the market". I can have my opinions, but I can't fully express them without referring to other libraries. And that's something that, as a developer, I'm not allowed to do.

By the way I can say that we tried to take the best from the libraries we know out there. I will just name some of those techniques here: "dynamic bowing", "seamless legatos”, “multi dynamics” and some other new techniques, like the DCE, which I'm sure that soon will be implemented by some other developers. I admire the other developers from how they addressed the problem in a different way.

Actually you can imagine that it's quite expensive to fully sample legato transitions at all the dynamic layers with the following legato note. 

My last "unnoised" example was quite a bit rushed, but I'm trying to address a technique which can detach the bow noise from the tonal part of the note. You can decide how much do you want that noise to be constant or "matched" to the tonal part. A working idea is already done. The tricky part is to make this process reversible and not to be enormously stressful for memory and CPU. While I'd like to implement this update as soon as possible, I must say that we need to follow our timetable and release the other two instruments before concentrating on these specific issues. 

I still have the original recordings and it’s quite probable that we'll re-edit the samples again. With a special attention to the post production process. In any case I paid special attention not to high pass the body nor the note of the instrument: what you refer to is actually the discontinuity in volume of the bow noise.

To answer to your questions:

1) Yes. We are looking into that. With a new technique or maybe a different type of the legato. I'm referring to a bow change legato at an higher dynamic. At this very moment there’s still a possibility to "avoid" or to reduce this effect: go in the Behavior page and set the “legato duration” at about 100ms. Then adapt the "Back to Sustain" slider to your liking as well as it's curve. In this way the library will just use the legato transition and then fade to the sustains. But yes, there are artifacts due to the crossfading. I know, and that's why I think that the "single layer" legatos works better, anyway.
Two things more:
You can exclude fortissimo and pianissimo, by going into the control page and setting the modwheel parameters to 127 for the fortissimo and to 0 for the pianissimo. In this way you'll use only 2 layers: mp and mf , which crossfade a bit more smoothly into the legato layers.

2) When working on the tango we've realized that one of the best way to achieve convincing little runs is by interpolating bits of legato, then spiccato and then legato. Quite tricky, but it can work. Again, I think it could work the best by having recorded material for this.

3) This is a caveat common of sampled Slurs: if you're changing the note in the middle of the slurred there's no way to understand from which pitch the instrument should continue, so the next sample will begin from the target note of the previous slur even if the previous hasn't reached it. We can find a way to improve this behavior, anyway.

4) The short legato duration leads to a longer note in which the bow change is more delayed, but if you just need this for a single passage you can press F1 just after the legato passage. In the future update we'll look into a way of eliminating the first of bow changes. I made some experiments and i think the edit is quite inaudible.
You can listen here an example of the cello:
https://www.dropbox.com/s/tkjowg0inded1lc/CELLO%20LEGATO%20LONG.zip?dl=0
Quite transparent. What do you think?
Yes, the tone of the cello is different, but just because he played louder! 
But I'm confident that we'll have a new array different problems to deal with :-D

I will "save" your wish list for future improvements. Thank you!
Oh, another useful thing you provided us is a reference: an actual piece to test and see the limits of our instrument and an actual library which handles this problem in a good way. I had some similar feedbacks and they are like gold for improving our instrument in the future.

Another note about the balance of critiqueness: we are still a young developer which is trying to emerge from the crowd. Although the sales are going great, we still don't have the user fanbase which other developers have. I'm realizing this by simply looking at the numer of friends on our Facebook Page. This is directly proportional to the popularity of our company. About our instrument, I think that many of the demos posted would have been impossible to render convincingly with other instruments and I'm still getting everyday positive feedbacks and requests by lots of great composers.

I think that the best way to improve is listening, working and going on. 
There will probably be a new session soon in the future, so we are open to receive feedbacks and suggestions about what's to improve.


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## constaneum (May 26, 2015)

Hi Paolo,

looking forward to the update as well as release of the next releases for Trio Broz. By the way, any tentative release date for the manual? Thanks.


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## Hannes_F (May 26, 2015)

Gentlemen,

please use this thread for post comments, praise and critisism on the product:

http://www.vi-control.net/forum/viewtop ... 86#3872386


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## hawpri (May 26, 2015)

Would it be possible at some point to include mic position-specific controls for EQ/cutoff, and other adjustments like the 'silkener' intensity?


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## paoling (May 26, 2015)

Sure. The only problem we need to look in is that filtering introduce phasing delays in the signal. So if we'll able to do this without introducing noticeable phasing problems among the microphone positions we'll surely add it.


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## Per Lichtman (May 29, 2015)

I'm looking forward to further developments and e-mailed Paolo my thoughts on that, but I just wanted to say that "slurred legato" (think portamento/zigane/"gypsy" options in certain other libraries) is to my ear the strongest selling point for the library right now.

It does things I have not heard in any other library I have previously reviewed. If you're specifically looking for that passionate portamento sound, I would definitely look at this library as is. I personally prefer the sampling of these portamenti and the amount and onset of the vibrato when using it to many of my favorite other libraries.


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## hawpri (Jun 5, 2015)

paoling @ Tue May 26 said:


> Sure. The only problem we need to look in is that filtering introduce phasing delays in the signal. So if we'll able to do this without introducing noticeable phasing problems among the microphone positions we'll surely add it.



Thanks for taking that into consideration. Would it also be possible (and hopefully easier) to add volume control sliders per articulation, as well? Right now I'd mostly like to be able to reduce the overall volume of the pizzicato.

Is there a way right now to control the dynamic range of the short articulations? At the moment it looks like I have the patch set up to give the maximum difference between loud and soft, but there isn't as much range as I'd hoped. I looked through your tips PDF, but feel as though I may have missed something.


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